Anda di halaman 1dari 204

LIBRARY

University of California.
GIFT OK
Mrs.

SARAH

P.

WALSWORTH.
Class No.

Received October, i8g4.

Accessions No.\j^oyjZ^^A

Kt7S

kS

77.

Of

'r

4:

lr>

n*

Mil

f*
I

g ~~

7^-?.

~7

sis

\i

\,

"
,vl
t

ir-o

Ui*J^

h\>

*,

PROGRESSIVE AND COMPLETE

FOR THE

PIANO-FORTE
BY

HENRI BERTINI.
NEW AND CORRECTED EDITION
Of TEB

JFI7BHSIT7]

BY PUBLISHED & WASHINGTON


178

SAN FRANCISCO:
A.
276

KOHLER,

STREET

STOCKTON STREET.

(bi&:km

wwwwe

m tm m&mm.

<smmw

wmwum

m wm

igdot;

6V7

PREFACE.

My intention, in publishing this new Method, has been to facilitate Che study of the Piano-Forte and I have tried, as much as is in power, to furnish a Progressive work, in which the young pianists
;

my

necessarily give more trouble to pupils in the outset there will afterwards result a great good to them, ing to play the Piano-Forte, they will, at the same

but from V
for,

in learn-

time,

become

might, assisted by the experience of their master, find of instruction.


great number of elementary works of talent, and very good in some men by

all

the elements

good musicians.

respects of tage, that they are rather a collection of popular airs, than a series

many of them have

written, too, the disadvan-

who had already obtained a certaii; a in proficiency, difficulty reading music with accidentals ; and doubt not but this want of readiness is to be ascribed to the timid
I

have often observed, in pupils

ity

and excessive reserve of the

old instruction books.

lessons connected and graduated so as to develop the musical knowledge and mechanism of beginners. I wanted to avoid this fault, and I have therefore written especially for this work, a series of melodies and exercises, instead of resorting to popular melodies, romances, waltzes, etc., etc., which are commonly annexed to instruction books.

My
ning

course of Piano-Forte instruction,


It

if

followed from tte begin-

to the end, will offer

appreciated.

one advantage, which, I hope, will be furnishes elements of study for more that a year,
necessary to have recourse to a multitude of them carelessly written and badJy fingered.
little

without making

it

pieces, almost all of


It

has hitherto but too


is
;

often been forgotten, that

an instruction
assist the hands and arms sfc ould be rejected the thorough study of the art of Piano-Forte playing. They should only be considered from an orthopaedic poit t of view ; tliat is, they can only be used with any appearance of ? ^vantage as a last

book

intended for a grammar, and not merely for a book of amuse-

Mechanical means to

ment

and hence the

false

consist entirely of

little

system which made elementary works airs which the memory can easily retain.
;

in

This custom perverts the taste of the pupils it prevents their mind and ear from making themselves familiar with the different harmonic combinations, and it fills their heads with musical trivialities, which, more and more drawing them away from the works of true art. will ultimately incapacitate them from understanding the works of the
great masters.

pupil has been badly directed, or us an aid in cora bad formation of the hand. recting
resort,

when a

Some persons have the erroneous opinion, that the metronome The intellect could be of service in the study of the Piano- Forte.
and judgment must direct the division of measiue* and the different rhythms, and the metronome is only a means u.t'.l by composers to
indicate the true time of their compositions.

very important to have the first studies of children directed master for on the principles imbibed in the first lessons a skilful by always depends the future success of an artist. Faults then acquired,
It is
;

and confirmed by long


I would, therefore,

practice, will

never be

lost.

The

pupil should

sit

before the middle of

th'j

key-board, in order

to be able to

make

it

the duty of parents, and those

who

run with ease over the keys from one end to the

other.

have the charge of tion, and to consult


teacher.

pupils, to act, in this respect,


artists

with circumspecbefore concluding about the choice of a

The

wrists should be turned outward, so that the fi/v fingers


<t'X3S.

may

be always on the key-board, and ready to strike their

In studying very carefully all the works which have appeared within a certain number of years, I have been struck with their
general deficiency in

The

wrists

and arms should form a straight


be rounded
off,

line.

the

Some of them
in their

are objectionable
;

important qualities of order and logic. on account of too great simplicity


to

The hands must

and the keys shuck with the

extremity of the fingers, but not with the naih.

means

others

have appeared

me

to

be in a

still

worse

condition, for

they contain

many

useless things,

and a

total

want

of progression. I hope I have succeeded in composing a solid work, which will force the pupil to exert himself, and familiarize him with all the difficulties of tonalite, fingering, and rhythm.

The body must be held erect, and all grimaces and exaggerations, which would give a ridiculous appearance, must be avoided.
In order to obtain great equality, agility, force, neatness, and a sonorousness of tone, qualities which constitute true

beautiful

I have graduated

all

my

lessons from the natural


signs.

key up

to those

talent,

it is

necessary to

know how

to strike the

keys from th#

most charged with chromatic

My

system

will, therefore,

fingers,

from the wrist, or from the fore-arm.

Thus
trills,

in runs of the scale,

the touch should be given exclusively from the fingers in and in other running passages.

Measure in four parts divided


1

into eight Quavers.

5.

AUKORO.

mug;
IEGOIERO.

^f^=^
Measure in four parts divided
3
3

<te

i
15 It

into sixteen Semiquavers.


11

10

19

13

14

|jffffm-^
The keys
in lively

The

principal diversities of shade in music are contained in

the

should he struck from the wrist in chords and octaves,


light

and

movements.

There are a great number of intermediate degrees, which form a chain between pianissimo and fortisand the art simo, between the slowest and the quickest movement
modifications of sound and time.
;

ALLEGRO.

of interpreting the different composers is only obtained by scrupulously observing the indicated marks, in studying the contrasts, in trying to give coloring to the musical phrase, and in taking the time exactly as indicated by the composer, or by custom.

^N

mmM

NJJl

A
and

master,
for

however
;

skilful

he

style to his pupil

for style is

may be, can never give a superior something that cannot be transferred,
There
are, in the arts, quali;

which no

rule can be given.

a moderate movement, where the expression demands great force, the keys must be struck from the fore-arm.
in

And

ties

with which nature alone can

master can do no more


his
tator of the pupil.

gift certain intellects than transmit to his pupil a faint

own manner, and which

will

and the shadow of never make any thing but an imi-

HODERATO.

0-0-0

'

ar-fi aT-'--0-0-0-0
-0J


g>
;

the spirit of the performance it is the art of giving a form to the ideas, and of transmitting feelings. There is as much

Style

is

'

difference

'W
otherwise
stiff,
it

there

between a man of mere execution and the true artist, as between a great talker and the true orator. A man may be a skilful instrumental performer, and yet be only a very modis

But would
touch.

this

last

way must

be used very sparingly

erate artist.

easily degenerate

into a habit,

and produce a

heavy

I
in

recommend

to pupils constant

practice
fast,

of the scales

at

first,

slow movement, then moderately

and thus progressing

to

Only by the careful study of the works of the older schools of Italy and Germany, the works of Haydn, Mozart, Clementi, Dussek, Cramer, Beethoven, Hummel, etc., and those of the better modern comwill be cultivated, and ultimately acquire posers, the true talent
individuality and originality in style.

the highest degree of velocity.

In order to prepare for the exercises, and to give elasticity to the


fingers,
it

is

important to go through the


notes,

five

finger exercises, in

single and double


It is

which

are given in the instruction book.

be regretted that the study of the ancient masters is almost beautiful works, in strict and grand altogether abandoned, and that almost laid been have aside, exclusively, for the easy success style,
It is to

absolutely necessary to have the pupils early acquire the habit of counting the time aloud and, where they cannot make at once the correct division of time, they must subdivide the measure into
;

be obtained from performing variations, and a number of have no real merit. light pieces, which
to

little,

mailer parts.

leave

it

to the discretion of

the teacher to decide on the time

Thus,

if

the measure

is

marked

in 4 parts,

it

will

be divided into

the exercises in thirds, sixths, octaves, chords, etc., should be I wanted to avoid filling text taken up and gone through with.

when

4 quarters, or 8 eighths, or 16 sixteenths.

with useless matter

and

have endeavored to give to

my my definitions
accessible

the utmost simplicity and clearness, so as to to the intellect of young learners.

make them

Measure in four parts divided

into four Crotchets.


If

_1__

a^rr?vA-

e=F

s=a

i^^

my

work, the

fruit

of long meditations, and of conscientious

labor,

be acceptable to my colleagues, I shall be happy to have mado a step forward in the beautiful art which has occupied every moment
of

my

life.

H.

BERTINl

OF THE KEY-BOARD.
key-board most generally in use embraces an extent of gix octaves, which commence on F, and rise to F of the sixth Within a few years, Pianos have been made extending octave. to six and a half, ^nd even seven complete octaves.

WI7IR-SITT]

The

As it is very easy to become familiar with the additional keys of the seven-octave Piano, we shall confine ourselves to indicating, by the following table, the name and position of each key of a Piano of six octaves only.

TABLE OP A KEY-BOARD OP SIX OCTAVES.


Bk
Ab B b
k

Db E|
,

'

Pb
\&J>*2

Ab Bb

Pb Kb
:

Ob Ab Bb
5<9-

Dbb
--^bzr-

<

>b

s:^.

\fQ

Pb Eb

Ob *b Bb
-h& ftsH*-

P b b
Ss^J^-

hC-^^

, 2 "

\fC

izrl*:

bis

F#

li

A#

C# B#

F#
-*

Gtf

A#

C#
~J&L

T>#

#?

#25"

*F

m&

^^

?&-

*&*&-

F# G# A#

c# d#

f# a# a#
3PZ *?*^

c# p#

#_** # |gj
Ftf

#-* - C

- -

I#Z*?=

*^"

iwiwwuiMn
SE
-

nmrn
!

arr

=r:^

^-r^T

fc

ABCUEFOA
F

B*^- ^

f a a b

n e

OABCDEFCtABCDKF

X B

LIST 0 THE PRINCIPAL ITALIAN MUSICAL TERMS USED IN THIS WORK.


GRAVE, the slowest kind of ume. LARGO, very slow and grave. LENTO, slow. LARGHETTO, less slow and grave
ADAGIO,
quietly with composure. or BRIOSO, with brilliancy, brilliant. AGITATO, with agitation, anxiously.

CON
than Largo.
tone.

COMODO,

STACCATO,

BRIO,

PORTAMENTO, a RALLENTANDO,
RITENUTO,

SCHERZANDO,
MOSSO,

notes to be played short and distinct gliding from one note to another (or Rail.,) retarding the time
tone.

playful.
spirit.

and diminishing the

m regard to SOSTENUTO, MAESTOSO, majestic. AFFETUOSO, affectionate, tender. CANTABILE, in a graceful, singing

slowly. sustained

CON

animated. MOTO, with

PIANO, (or simply the letter p,) sweet, soft. PIANISSIMO, (orpp,) very sweet and soft.
style.

TENUTO, ACCELERANDO, (or Accel.,) A TEMPO, in the regular time.

(or Rit.,) decreasing the movement. (or Ten.,) to be sustained' the full time.

accelerating.

TEMPO DI MENUETTO, in the time of a minuet. TEMPO DI MARCIA, in the time of a march. ANDANTE, going neither to slow nor too quick.
ANDANTINO,
GRAZIOSO,
somewhat
less

DOLCE, FORTE,

MEZZO FORTE,
loud.

(or Dol.,) sweet. (or f,) loud. (or mf,) rather loud. (or /,) very loud. (or/z,) rendering the sound suddenly

FORTISSIMO,

slow than Andante.

TEMPO GIUSTO,
in

SFORZANDO,

in strict time.

a flowing and graceful style. ALLEGRETTO, moderately playful and vivacious. ALLEGRO, fast and animated.

RINFORZANDO, (or

PRESTO,

very quick. PRESTISSIMO, the most rapid degree of movement. DOLOROSO indicates a soft and pathetie style.

CON ESPRESSIONE, with expression. MODERATO, with a moderate degree of

CRESCENDO, DECRESCENDO, DIMINUENDO, (or SMORZANDO, (or


by degrees.

Rinf., rfz,) rendering the sound loud, but not suddenly. (or Cres.,) increasing the tone. (or Decres.,) decreasing the tone.
Dint.,) diminishing the sound.

Smorz.,) smothering the sound

BEN MARCATO, well marked, strongly accented AD LIBITUM, at the will or pleasure of the player.
PIACERE, at

ESPRESS1VO, (or Espress.,) with expression. LEGGIERO, (or Legg..) lightly. ANIMA, with feeling. SPIRITO, with spirit. GRAZIA, with grace. GUSTO, with taste. DELICATEZZA, with delicacy. FORZA, with force. CALORE, with heat. CALANDO, diminishing in tone and quicKness.

CON CON CON CON CON CON CON

quickness.

LEGATO,

(or Leg.,) slurred, smooth

and flowing.

VOLTI SUBITO,

the pleasure of the performer. (or V. S.,) turn ovw quickly.

LESSON

I.

PREPARATORY EXERCISES
FOR PLACING THE HANDS ON THE KEY- BOARD.

The Brace
is

used for uniting the two staves.

Clef of G, (or Treble

Clef.)

Do

The

clef of G, (treble,)
line.

is

placed

on the second

Clef of F, (or fiats Clef.)

-<s>-

D
is

The

clef of F, (bass,)

placed on

-3Z
-<S>-

the fourth line.

Stave.
5th line.4th " -

Do

Re

Td Sd
lt

"

. .
.

The
lines, ten.

stave

upon which the notes are

consists of five parallel writ-

The

lines, or ines.

notes are placed either on the on the spaces between the

When the notes reach above or below the stave, they are placed on additional lines, called

Ledger

Lines.

m l
Above.

4
_C2_

G
1:
Sol

J\r

A IlKMt
4
JSL.

Two dots before a double bar demote that the previous strain must bs Dlayed again. This is called a Recat.

Sol

Fa

LESSON

II.

M
I

LESSON

III

LESSON

IV.

OF THE MEASURE.
PRELIMINARY EXERCISES

FOR DIVIDING THE MEASURE BY CROTCHETS.

Measure

in

Common Time.

Count

four crotchets in a measure.

-fr-^x

8
The
different characters

which

fill

a measure are as lollows

Demisemiquaver Rest,

Semibreve Rest,

Minim Best,

Crotchet Rest, [*

Quarer

Rest,*]

Semiquaver Rest,

Semibreve,

Minim, ....

Crotchet,

Quaver,

Semiquaver

Demisemiquaver,

16

32

1 Bar

Hemidemisemiquavers are represented

thus,

<-!
fcj

Sixty-four are equal to one semibreTe.

The

bar

is

a perpen-

dicular line, to denote h& division of the

The

different kinds of

time are indicated by two figures placed after the

clef, at

the beginning of

measure

the piece.

Triple time
the pressed by

is

ex-

ing sign

follow-

Count three crotchets

A figure

[1]

represents a Semibreve,

a a measure.
[2]

a Minim,
a Crotchet,
a Quaver,
'.

J
J J

fera 12
3
Six-eight time is expressed by the following sign:

[4]

[8]

[16] [32]

a Semiquaver, a Demisemiquaver,

jS:
-8-

[64]

a Hemidemisemiquaver,

mo divisions, thus:

And

is

counted in

Thus

2
j

represents

two semibreves, and

two

crotchets,

&c.

The Breve
equal to

Breve.
is

a
Semibreve*.

two Semibreves

N. B.

There

are longer notes, called the

Long and

the Largr, which are

omy employed

in tne

ancient ecclesiastical

music

OF THE DOT.
A

'

dot placed after a note increases

its

value one half.

-ll

KUMPLE.

10
If.B. In commencing drts
ft-i
"1

iA^ {!,
EXERCISE

lesson, divide the time by counting four crotchets in a

HU LESSON
Ilf

V.

measure.

RHYTHM,

Slow.

dotted minim is equal to three crotchets. dot placed after a note adds one half to its value.

KEY OF C.

EXAMPLE.

DncT.

m
a note
is

When
by two
equal

followed

dots, the second is in value to half that


first

of the

IXsHTLK.

effect.

dot p aced after a rest has the same relative value

as though placed after a


note.
y-

LESSON
~zz:.

II

VI.

xzc

iz*= r~r

nFfl

,2_

E
i

-M-J
.-#-

fP

V _ *
:

-p^zwi

p~

mP?

&-r

P
f
~r~'

A Minim

(O

is

equal to two crotch:

ets

j^gjfegg
x

tlzwdt

a^g &
*
i

-x-

fi"

-p---az^:

1: e---

-m-P-T-pr
-\
i

'

-JdtXl

mnr
*
'

f-f-

M
X

19-Pzf-Pl i r
I

"i

IES

f ^ft=f

fl

1 ^^ SsS m P ?S gg
-a

ft
izi

P--F xzc

2-2
3EZT
jg2T~ar

Minim

Rett.

A minim
r-ir

rest is of

n a

r~rr

5g*

s
i

ziz-3'
i

equal

duration

witk

the note.

*
~i

*-

~&-^

pzPz^iPi "zzczf

$m
'
'

Semibme

Best

m-P-M-m6#

WC

z s-> r -t~rr

~i

~ r
~P _|
i

zz

&
4

A semibreve rest is of equal duration with


the note.

'-Ft-

?
Xi

-*-

f-

s-e-

==f"

!f^f^
S>

t
x

la (-r 1
1

The
is

dotted
:

tnin-:rn

zss:

equal

crotchets

to

three

w
zzzjzrx
ft

i-?nr
-F

zpf-pz
^r
"i

a-tgf
"i

zjz-zrzzz

r r

gzzH

12

LESSON
LESSON
(

VII

1 )

One
is

FOR SHOWING
dotted
to

naumn

equal

the use OF

three crotchets.

THE

DOT.

A dot

placed after
its

a note increases value one half.

Count four crotchets in a measure.

12 1
(2) Semibrere.

-X(S~

h-p-z

:
X
I

.!_-_!_ -W-T
T~i

r
g-^rl
ipjsEI:

car cur
One semibreve
equal to eight
vers.
is

ss
LESSON
is

SHEF jtLvmv ^=f=f =f-F : F~

-1

x x - n a

th:

x n x *-Q-#-

x
:r

qua-

^
:5"

(3)
minim
is

The

dotted

equal to six

JSL

quavers.
(

^=(6)

3E

IEEE

4 ) The minim
to

ra ftUAVKRS ,

equal
vers,

four

qua-

for THE
)

The
tc

crotchet

LEPT hand.

ks

equa.

twa qua-

m
i

* X * f-9 ~f-pf :
FP=
t~i

X
i

rT

t r

iBTF TT7
E r;

x x
i

szp:~

rr~M

ill

r~i

i
i

r~

Countfour

crotchets in a measure.

4
(2-

x-

321

3sz:

^1
i

r
i i

ft 7Wv<^
EXERCISE OK FIVE NOTES, TO GIVK Eftf A L. FORCE TO

13

THE FINGERS.

(1)

Tie.

ffi;

f-jpj IZiZZfTJ^J
i
i

A Tie
Uracil
i

is

a curved

T1

r
"i

^# lI r r
".

#-

"i

placed over two notes on the same deline

*j
I I

Fine.
i

gree, to signify that the second should not

be struck.

te^
r
i

r^j

r~r

dEZj

O'
CaoU<)

.....

S
Example
Effect.

LESSON
EXERCISE SHOWING THE USE OF THE riE AND SLIK.

VIII.

/
1
A. similar
called a Slur,

S^E
~r~i

-X_L K_L_
r

52:

'^
1)

mark is when

i^r-r:H

== zzzsszir::
:

fffl^fip
x

adfcjdEjE: r- r~l r
1
i

placed over a grou > of notes on difi'ere it


degrees, and signifies
that the sounds should

& P
Count four crotchets in a measure.

fci*

&*

-a-

be connected together by holding one note till the next is struck.


EXAMFLX.

Legato.

An

Italian

word,

signifying smoc tliness of execution.

')&*

14
Count four crotchets in a measure.

P
/

EXERCISE OH THE TUB,

FOR
BOTH
II

A5DS.

t?

22!

g=BE

S
r
i

-2_1

3*3

is:
J

'i

,*aZEn

ES

sz:

x 1 x

5BS

ILZCZT r
1
I

9-r- 9 -0

4^x-

f3

ZZJBL

iEfefei

1 r
j-j.

^3
m
l :

is?:

FF

<

l-^AAJUJ

3
1

A
i i

o *

3
1

\ EXERCISE ON FIVE NOTES.

-SI;

r~h
'

r
i

?ff ffr t r
i i i

t~i


i i i

~321

F h
r-j
i
I
i i

:s=i=5:
r~i
i

r r

EEa yffnrrrt
s
(J 1
1>

_A_a_

iJ
LESSON
Counf /bur crotchets in a measure..

IX.

."

2
i

THIS SCALE

-pi"*-t7
i

'

t~r

X-

MUST BE PLAYED

Ba^

VERT
LOWLY.

15

Slow.
3

EXERCISE,

X
I

SL
pz:

-a-i

s:

SHOWING THE VSE OF THE


DOT.

?
JET~l

wm
X
:s2i

-34

zbzsezil

T r
I

r-

ff-r

Efg

(1) Care should bs taken to strike both

notes exactly together, and avoid aiy motion of the arm, or stiffness of the hand.

EXERCISE
IN

TENTHS.

EXERCISE

FOR
FIVE
FINGERS.

l
<?- r
ou

0~

V
Slow
(1)

J r-X.

LESSON

Sharp.

#
is

The

first

sharp

always

placed on F.

~9#

EXERCISE ON

RHYTHM.

Count eight quavers in a measure


Rhythm.

Rhythm
certain

is

the division of a

number of sounds, of
3
3

different intervals.

The rhythm of an air may be expressed by the value of


the notes, without the melody In the marching of a military corps, the drum marks the step, by the effect of the rhythm alone.

\*-

$
32

2-

t
*

221

T
:#:zq:

m
2

~T JjZZWZlJ

Slow.

if

P- -fT
l I I

Melody.

VErr r f ff
i
r

Rhythm of

the air below.

33H3ES3 + + *
frffI I

~p-r

m
X

3tt H-H
-1

^
3
x
T"
r

122:

321
1

m
2

!k

- 3

-f8-

gj3

f-F-p-F-

*= T

(1)

Sharp.

#
4

The
raises
it

sharp before a note a semitone.

natural.

I
x
3r*=
_ # ,T T
,

je:

*
3

f
*
-r-

-<S>

t t-U~t ?=P

^=F

1^

i
*:

1.1

-i-

sharp.

C#

C#
the

is

:C
4
_!2_

same
on

as

J)\)

the

key-

5
Db
Sloiv.

tifc

board.

^
3L_2

m
??zz^

^
~ f W

.4.

A semitone is the
hMarval.

smallest

i^

S3

17

(1) Lento.
2

4
j

EXERCISE

TT& Tjr r
i

{S-i.

<

S>

(1)
Italian
signifies

Lento,

an

word,

whwh

-iE
X
*T"

T
1

5/ow.

ON DOTTED"
MINIMS.

X
r
3

X
2

pae; S3
#--]'

jP-

a.

:c:

JCX X F- Ml T
:

Count four crotchets in a measure.

#
:x~

X
L

^
.
1

:x
:r

ix
x

zxz

3
X
'i

x
f?L
:-#-

:r~x

4=

m tt

fr

4
"i

#r

.:

18

LESSON
(1)

XI.

The

first

aid

two sharps are always placed on F

key of

d.

EXERCISE OX

t^m^"
SCALE IN
D.

0)

&u*
i

==*:

RHYTHM.

m.

PI

^-

BEgEE
Count four crotchets in a measure.

&
"I

&__

a.

L
ff

i
S2I.

e=fc=p^

tfd

fez

E tfi F
:

Lento.
Capo.

PPP
1

Sign to repeat from the beginning.

s ^fe

f ef

-#-*-!

^ fe ?

Eeit.

r
(3)

Crotchet
to

g ff#
1

5=5
x

<s-

^ m.
r

Fine.

^sa*

iS^f*(

est, equal crotchet

^frg rrr
x
-

3)

Rest,

j"

eH STrf'r J
::

[ re I f 3CC P :izfc*it: -*r

EE>fe t_t

^ff# f-HF
T~*"

:r_

iM
f

.Note,

*r^=r!W
X
w
:
/-
,

^m
X
l

X
i

~r

T&Tf-t rT-rT"r~r

~&L.

X
1

X
i

g^Eg
!

n P * =1 r fff L tfff I

fr

3z:

RETURN TO VHE SIGN, AND END AT THE -WORD


'FINE,"

(4) Practise this

passage very slowly, and connect all


the notes.

EXERCISE ON
THIRDS.

19
1)

Syncopation

for the right

hand.

&eT

7&L.

i
Mil
II

:3:

R-

^ f- r
*=fc

~327-

ate els

eXERCISK ON SYNCOPATION.

Lento.

milEfcE?

fe

^^

22

7\oo Seats in a measure.

zz

1 Those notei ( ) are called syncopated which are accented

between the

beat*.

EXAMPLE.

fc

6FFP
T
VZ.fl_JS_

--A_

1X321X3 21X321 X 3 2 1X321 X, t#r *-* p-p p-p-p-r -p-p-p-p-pzp-p-\ p p


Allegro.

81X381X
~nr~rT~r
-<&(2)
Chords.
fot

%t*tp-pzp-p-p-p-p-p^-tiH r~ -i r~i
I i

r~i

r~ j

:i

c
i

-P-P-Pp-Pffp^

Articulate slightly with the wrist.

Lento.(2)
Bfc

s>-

When
-<sfive,

three,

i-e-o
A CHORD.

notes or more are struck at the same time, they are called

chords.

Chord of three
Notes.

Syncopation

for the left

hand.
3

^
Lento.

-X,-

Z22I

:sz

Chord of four
Notes.

IgFfcE X
Two
beats in a measure.

:fc
:

^
f

>~^

^3

*
j

T"

Chord of foot
Notes.

--R

ft *
1 ffy?

20

&
(1)

o
0)

LESSON

XII.

The

first

three

harps are placed F. C, and G.

on

-*L_
EXERCISE
IN

s I

^m
1

-n^

z^j^p

S^^lto
4

Measure
time
:

in

triple

is

thus

marked

3 4
It is

3
)S2_

counted

in

thse crotchets.

K*ERC SE on the
CROTCHET
REST.
(2)

gy

:^~:

=F

3c

2
xsz
42:

X_

s:

/-J

5*
Fr t

Sz^E
Cojm* tAree crotchets in a measure.

5:

jg

-fl-i

'-ft-"'

42-

rr gryr
4l

r#
(

.-

The

rest
fc

it equal ne note.

crotchet in value

22:

3
:?n:x:

3"

3
= TX
rs:

T~
:<?::

E=&:
Fine.
r

Rest.
I*
I

ii*:

::

4E

?
xis:
zzi

- 2

frrrrr TTTT
r-r~r~r-T

Crotchet

(4)
riation.

Mark of abbre-

To

repeat the

same

:
X

?-

"^~*"
J
I
I

:*=r
I

notes, as in the previous

3EP
JS

Li

SEE =t=f^p

i=fEE

aeasure.

^z

ri

^
^
:

*i.

fe

EXERCISE I ON 1

RHYTHM, AND TO J OBSERVE THE


1

.CROTCHET REST.

EXERCISE
DOt'BLK

be (1) Care should taken to strike the double notes simultaneously

NOTES.

(2) When two kinds of fingering are given, the lower figures are intended te be used vWin the hand is iVif T * tt

reaching tlw

oeti*i.

*&,
Lento
(3)

1
Quaver
rest.

EXERCISE ON CHORDS

r
f

FLAYED
STACCATO.

Quaver.

The quaver
(4) Exercise on
ver.
the

rest

is

equal in value to a qua-

quaver

rest.

&C * *jf~ii
X
3

X _*_>

n ipp~~) "Ta- IZLBITIZLS -L9f

EPi&S* zzLtzi:
X_2
ZL

^
i

=&=V tJL

3
.

X *

X
f-zH~-*~\

*~

__

:t

(4)
1*

r
1

z2x

-z 1 Jl .

ZX~-2T~r~r~Z
i

Effect.

Irt x IzdS x_
u
and

A staccato note is ex ecuted by giving it about a quarter of its value,


striking

the

key

with sudden force.

/a.

~y.>

22

LESSON
(i)

XIII.

2
four

The

first

sharps are always placed on F, C, G, and D.

KEY OF

K.

fct

Moderate.
\%

EXERCISE IN NOTES DEMI-STACCATO AND LEGATO ALTERNATELY.


(2) Natural.

3
t* P.

Z3
(2)

WALTZ.

DEMI-STACCATO,

Se=
g

*23 :*-*i
(3) Lesson
for observing the

33S
quaver
rest.

s& :- <?

When
is

a note

affected

by a
the
1

harp or flat,
it

nrtural restores
to
its

original

Mund.

ftH^r#

-fcri

o"
i

HE

11X3
rf rr~ ?r r
"i
i

U*
*%rf-f
r

* a a 3

-i

'

"i

5E

/
(8)

The
staccato

deminotes

sl

J*

-g-*

*fiL

are executed by giving to each about one half


its

value.

EFFECT.

.ftft

X
,**

T Pi Pit

Fmx F mi

x: ;
1

me

^
-

P-r--|

1
".U

X-i-f-f- r-f-# i

t-

D. C.
2_1
JLi

rs
Lento.

e
EXERCISE OK RHYTHM.

3se
rf TX

f f ffr

#-

gBZI
Lento.

Count eight quavers in a measure.

LESSON FOR CHANGING THE FINGERS ON THE SAME

(1) Change the finger without repeating the note, and keep the thumb

on A.

KEY WITHOUT
REPEATING

THE NOTE.

(2) Glide from the black to the white key, without


that is quitting it to sav, from to

D#

(3)
right

Incline the

hand to take G-B, and do not


quit the
full

F# until it*

time has ex-

pired.

(4)

Change oa

with the left hand, without quitting the keys.

D-B

3^

24
(1)
(1)

LESSON
The
first five

/
I

__

,_s

is are placed harp: on F., C, G, D, A.

_*_#

MB

/
i

^
i

XIV.
L

f=*
x
~*g^~i

-i

^ts^
r~r~i

r-

w r

LESSON IN
(2)

Take care

DETACHED toR DKMIstaccato]

Lento.
3

fe
321

*:
(2)

f
2

-fjBT
1
I*

-=3z

-|

0-

to connect well the

X
!

melody.

notes for THE LEFT HAND.

icb^ *Sfe^E ? see T=p "pr^


(3)

-2_#L

:'

X X 1.2. 3_j>_2 m 3EJ ill r~rz :rf3Er= T

T2

(3) Give the detached notes one >ne half their value. '
i

/
I

t#T*

rti

)
JiXAiltLE.

^
X
1

-F4

*-& 1
i

r r
3

s:

^
3

5C
*

IXZIB
<B..
I

:^ r
i

ffe?
X

IXL_

IXXX

ggggs

;F=tf: ~?mnc

g
r Ig-JLg
i i

2
I

14

4
~i
i

(=3

9EBE

SI

ft
ANDANTE.

s^^s
a
Legato.

*-

a^ e^
zjze:

i 1

x -

sa

^-#--e
it

r^Ftf^tf TT
TT

Legato.

Andante.
(4) 1^ port well the lell VUiid on the fourth finger, to

lesson in
Sl4l/RREI>

prevent skipping in executing the two notes which form the Ktave.

NOTES POR the left HAND.

85
t#-

rt
~^&-

*#
#:

ftF* T r

3:

-rr-

i ? i r i=
X
3

a
X2
i

i 5=*
x

(1)

Change

from the 3d hngfi to the 2d withetaking


off
)

:i

thumb.

1213

SEE
IX
(2)

3 x-: T
(2)

Change
1st fingei

from the
to the

thumb, on
key,witltit.

the

same

out quitting

-?-?-~

"^d F~^ t* LrM ^


3
,

_Jt

a x

t
t

F -

^sga4

.,

> J [ f rrj- -J if* x "*^^

i
4

H f^?
x
3

_____
Tim
:3i^~3
Andante.
-*

-------

*
_3
m_m

miiii

liig^E^E*^^
i

r~\
i

r~

i
i

~r~\

r r_tr #f j \zTzP:
ff
i

rrr r rrr f w--lr r


i i

~~

r~ /Fv~ "

gZiLH-*Z3=g=*Zg= 3Zj-

r r rrj h r
i I
i

-*#*

f ? ,
i

r r-

^ 3

P
*
i

czzzwz

Ks-# 3
utJS.

Fl-^T = #.sr
-X
8-

-x
1

\
|

r
i

"3 *

~i

-T3
i

~-i~3

f=^t

H
1

J
I

zx:

'V frFF-T-fG

3T3-3: ERSE-*
~i

3=__-3 3=#-3=^=Z:==3

"T"ri

26

LESSON XV.
Lento.
*--

^="
IT'

KEY OF

T
:

in
*=
The
first

-X-

six

^f pp^ips
f
rf f i
~r~r-|~r

EEs -i-*>

harps are placed


on F, C, G, D, A, and E.

Count ei^Ai quavers in a measure.

rV# w

it

ifc #"

rrr ri rPT~TT~

^=^** ?=FF

-^iT-r-

f r rff

* r*'r--ifjrA rrn~r~x
;

' I

'

rr~r

Accent particu
laxly all the crotch-

^^
S
"X

saE^sffi
3
ff

t.. S

frfff
~0
i i I

TTTT

* k. Efe

EfE^^E^

"#

rf fSr] fr>
r
i

r~

tciis:

BffiH

__..rri

r_

rr

Double
(3)

I?
semitones.
ble

^p
j

-TTf ?rf

f ffr

^as
*

sharp.

The double sharp


raises the note
is

two
>

F douthe

sharp

same as

natural

=*==-|g3-L
1

f^k=M E=EB32
-^-

EPen

rrPgZm

ZZZ

E3
x*?

on the key-board.

?-*-*
:xs:

*&

-^m

E^^i^^=^^=ES^=-E=-!

Andante
-He-

EXERCISE ON THE
Sharp.

[-

DOUBLE
SHARP.

Natural.

Double sharp. Somitone. Semitone.

<

2 ).

X
31.
Piano.

3
I

I
1

Forte.

*? Jr~

When two notes are slurred together, '.he first should


be
the

Pt

accented, and

'*=t

^m^

-gyg

r&r
i-

:sr
:x^

:&

5
=^ ^p=^ 12X1 cz^-z^
1

-=WX= i r
~i

13X21

in:

r~

M-L
T-

2.

second

unao

IzzlzEi

:
h
1

-rC>*.

t:

ceckj-J.

27

'i-Pi^
i

tr-

=^F *~<ir
*-,':

3P
,n
-*^-

3z:

:ns?:

x^

2X-sr
xs>'-

^s z
-p-f-p-

fe

grSjji=E==Eg

SI

S
p nn

r :f=c Tn

~J~T zczz

V3 "T
IX"

*i#: :#=
8

(1)

Whep

II

*=*=*:

3X5?:

TO"

~gy~

e 1=3
1-

l^-M

5ti

is pause placed over a note, it may be prolonged at pleasure ; but, as a general

^z|_*d
=-'

5>=; # ft

ZK2I

fflL

principle, the note should possess at

=t

is:
(1)

~r

least

double

its

real

value.

The same

rule

should be observed when a pause ii placed over a rest.

t*t*
ft

-#*

i|ES

iczr

1X2132 n 133
i

:3:

:x#:

3=3

is :xs:
<2_

iE
3 g DZC
g

A Pause
placed either over a note or
is

rest

EXAMPLE.

-*P-

55 *r-

:cx

3Z

S>*

28

LESSON
Lento.

XVI.

The

first

seven

burps are placed on F, C, G, D, A,


E, snd B,

KKVOFcff.

&& msm
^-~V
>
\

:t=^*=*"
:

-5KfcE*2B

mm

$j^
3d
-0

?E3=1Z

35P
fi

3^g S^fe^i
:
1

3=g333

MF t^^F
1

r
:

ff

*k

l*

:jz*

m^*fr SSffl ^*ip*pp\r.ftftrff rrrrrrrr


t
r

2 3 _2_ _2_ 1

**#? -8 =M:

Pifze r
1

^g

pr f rrr-P-ft
*=
i

'

r rTTTTrr?
1 1

r~

=f==f=f=f=^

t-l

& EH > E^F


j

X-

-#.

y.

,)__

ft _

g).

IE*

^ qctftttf gfifFgffgg
ffe #*=3*
(i)
-F-

* x-^x--

j u f^FS fy r
T*
"i
1

(1)

The 7Wp-

At

a group of notes, indicated by


is

a figure 3 placed over or under the


throe notes.

xizzrifls:

EXERCISE
IN

3?

EJ3fiif X f
1

SXAMPLE.

TRIPLETS.
"

O
j

US
(2)

^B^f^~ F=
*fe* *=&
-xfFrz=^F

ss
1

'*ri

rx
1

^r

tz^: glzc
psr

^x

2
-is

ee%e a

m
1

jg


rr "S^i

**
=E

#H
to

Sign or mark

*r

ngize:

*
3*2:

Ik H3CC
**?S

3E *RF
ff

contradict the double sharp, and rethe store single


sharp.

^ m&

x
1

fe
:&

fc^

i W

r-

See E 5fl ? W
1

5E 3=f*?x-

29
isfe.

S3EEE25

W^ i^
*

-*pi

P
XX zpzzz r-rr
X
_

:<=>:

Wim-Sk **=%&

w^
_L

3-

fr
r~

PP
4

_
i*

x k iz sipis: _r
4

as
r
f

14

3X3

14

3X3

Lento.

Exercise

^EEE&

-yf-f:rzLzn

ON TUB
TRIPLET.

lEczEEEEE

"i

"i

T Si

_4

a:

^a g g

EZHS

S
-X-

:e=?-r T~i r r
"I

-
|

*
i

212

(1)
let in

The

trip-

'ST

'

rrr
~2T2

quavers is equal in value to

a crotchet, or two quavers.

lX

mm
i__x

-m

^
^
:
I

:xr:

W&31.
i

mjm

j: JL F=fl = P=F =f= l


8

-XfS>-

jn

u_
|

r
X
|

i
m
1-

,#^__2
2

iC

iSE
1

^ZZj'ff-rzrzpip
* j*-

ISPUS 3^
3ZJ

-X

2_JL
St-

ziiJ -^*

W*0
i

-sT

-\

-riir

0JL0^ r

i x

S
_

fil

P
i
"i

r r
i

32=111 w
_

==*V2~

3C
"i

fT ff
r

-*-r

I
J

r_

=^ ^ P*
IB

ai

^r r
"i

3t

J=i-Fg-

Bg^Pf^p
:*#

-ffi=fc

^L_C
i

3=_r:
x:
--s>-

.i

=F

SSE^ -^
M
*Jt
;g~~T x 2 X

Pfe
~SL
TEN.
(2)

S
221

r-tJ _X_4_

_X_4:<3~

i^s-

xxr izriasii:
^s>-

(2) Ten.; abbreviation of the Italian word Te-

nuto,
that

implying
the

note
susfull

should
tained time.

be
its

**

,J^
sc

4*

&

=-W-vix: 22

^:

Ezezr;

iS
3s:

30

INTRODUCTION
TO THE

STUDY OF THE SCALES.


EXERCISE
Lento.
I

of playing the Piano well, depends almost entirely on being perfect in the execution of the Scales.
art

The

FOR PASSING THE THUMB TJNDEK THE


SECOND FINGER,

'

=3=3

WITH/

^n X*~

m
-

iSE

OUT ALTERING THE POSITION OF\

The practice of the scales is of the


utmost importance
to

THE HAND.

^BS lESEg^teggg^S^
r
"x

~r~*~x:

Ending

Hold the semibreve with

the second finger to the

end of the

exercite.

the

pupil

who

wishes to acquire

good

execution.

should make them his constant


study.

He

EXERCISE

czx
r

Carefully avoid any movement of the body or arms,

FOR PASSING THE THIRD


FINGER

OVER THE
THUMB.

and also any moof the forearm while you pass


tion

g zxzzs

P j]AflABAfl:flJ3Aj]te B n n n n H.ii.n n n J3. nil n n 1


:a:

I2SZL

ua:

__#.

a.

._*

:s:
:ir

the

third

finger

over the thumb.

These exercises
will

be

particu-

larly advantageous

when
slowly
tinctly.

practised

and

dis-

CONTINUATION OF

THE SAME
EXERCISES.

rq

nm
J

m
4
1

SsSsg T ^SEEEE
:

mm

SE:
-

^lii 11-44 3333E^ shh i i-+B3= 333333 3'3-HH BEF*


:

ITT

_ n _ n
;-X

Sf

Tf

J -*--f

tj

ot

tt

^
1

W -00'-

0-

s>

x -

5-

-) 400 m il rj =*=ti *eS 1 # -0 0# I 0\- -0- -mk 00


0-t
I

-&-

31
EXEKCISK

FOR PASSING THE THIRD FINGER OVER


I-HK

jttijtti

jthjjx
34343434
i

FOURTH,

AMD THE FOURTH FIN-

GER UNDER THE THIRD.

=cxzb=tn=m

^wg 34343434 34343434


i
i

ii

'

3 4 3 4 3 4 3 4

^ife
0)
?

-A

E*EiE?E

~1

T"

F-

f#?-= r
t
1

j rl-f
3=1

fyf f

*F

F r

p P F r P tZ
I i

-r

^ ^^^4
3
i^fi^-

(1) Sextelet , a group of six notes.

Accent the note*

AAA
Q^E
The
indicated

in couples.

'"('"

T
3

feP
sextelet
it
fig-

hy a

-fr

#8z
1

r.*r*&

^ieHS
i

ure 6 placed ovei or under the six notes which com*

pose

it.

r r

1111 3.333

^^

1~

i*

EH
r-

LjtJt-JlJt

F=
i i

--#-

JOr
i

T~
'i

riZ.
r

tztz'

I*

JfrfrTf 5
i

"i

r -fv

se^

xixi x-i-x e=r=F=r=^s=^E r r n


i
:

XlX3X3X
:

i:

e=P

Ilbllll====
::

32
Signs used in tne Recapitulation.

RECAPITULATION
OF THE

PRECEDING SIXTEEN LESSONS


Lizzie:

C Common Time.
f
Crotchet Rest.

ifc
measure.

-X_^

25:

^
1

-;i-

3
-r

:3:

-- Minim Rest

ANDANTE.

Count four in a

Semibreve.

Gr Minim.

I
3

^
^
i

^-

== s

..22:

E=^z===

Crotchet.

($:

Clef.

:^=S

E f
r
f

EE2EB

22:

ir
1"

joe*
#
fc|

@:
22E ^s?

Si

Sharp.
Natural.

W^2

23.(5^5

.:

Gp--Gpr-2--

Slurs ;""> or Ties.

^ 2=F=0=X
::
-eg"

J_1_J

:rzat:
i
i

SB

'(

O
i
i

rfzz-^:

-rtfc
:

r
i

r=?5

-h
4

^^
14

-mFFF
i

jea.

222:

:s:

^2=
221

Notes slurred and taccato alternate-

Tenuto.

Several notes can be made with the thumb, while the

hand is supported by the fourth finger.

"*""^Legato.

Quaver Rest.

'

DemiStaccato.

S 3E
EE
'I

3
-

Ff^=P t ^j~
I

i
-

3fe
azxzfcsrn '*

CP
T

mt&

"X
3

1^ E
~X~
1

3:<

^4_
_3_2_i_x_#_

y m
1

x_<

1TWW
XG>1

3=f=^E=zfL

r
i

k: czx zt:
:i
"i
i

:szr

X
r

TPrrnr
"i

Changing
r

fin-

-&-

gers on the sama key.

:g] 7~

x
JZZ

:E

^35
1

sg^ft r
~i

zzszizxrrziz: r h* \0Z0Z9zrr
"i

iIM

_X_JLX_pL

?=F=F
-<-

TTT
Syncopated Noiei

<S3

E
XJX
-2_1_X

5^
-

cis?-

4
2

Dotted Note*.

1X1

0-0 0'0

rn =ft^
^2:
ei

ffi
"ri"r
-2-

:f=^:=p:

xrx
x<s>l-<5>-

"X"

--

-ar

1221

T4

IX
4
.

Dot.

Double Dot

Tie

over

two

notes on the

same

degree.

Change
without
the

fingera

on the same nota


quitting

key

34

dT

Triplet!.

>
H
r~

gpIS
gj=p^
3
lign ef Abbreviation.
!

:ffe
^~r~r"^ j
y;

^~^

riptZI

x
-<s>-

E
r

*S:

3"E

2_

33E
it
-F-

2:^-

^ 4

1.

*
11

fis f- rr~r *3
-r

CJ

steSs:EtK b E
L

* C
:

^= X
l

?;

:@

SI
'ml

Piu
little

Lento a
;

slower.

The pause

^
!*
>

(or organ point) ir double the val-

ue of the semibreve.
1

2^4
sr\

J3-

1
I)ottd Notss.

5
Dotted Notes and Triplets alternately.

Allegretto.

-<s>-

-s>-<s>-

is:

e;
Exercise upon

COUNT

3848678

COUNT

rhythm frequently

used,

pally
the

with

princire-

gard to the dot,


tie,

and syn-

copation.

RffPTO
-&

^EJ
L

^^^
x

*~x~

Count eight in a measure.

Dotted Notes and Semiquaver* alternately.

f:

~<sr

TJ5L

35

s P* s
2:

IJIZCJ 31
*-x-

==s

i 3=-f

^Siiii *^
x
DottedNotea

*~x

for the th right

hand.
-<s>-<s>-

TT T"

iP

:c:

W3
Count.

3* ~
4
fi

rr

for the left

Syncopation

hand.

(i)

A
This sign
sig-

nifies that the note,

over which it is placed, should be accented strongly

12
Count

4 5

13

2 4

2 3

X
Tj

IX
1'

(2)

This sign ip]'cates that the first note should be


strongly accented,, diminishing on the note or notes which
follow.

X
i i

_2L

T=j:

BE

n r ~r
i

V
T~~

\4i
(3)
.j.

:=^z^

*
-\~

1 T~
r

-m-

-rr"

1
l

T"

..=

(3)

When two notes are slurr'd the first should be accented, the

second un

an ^-5= iU at
-0-

#
3E

r -e-r-j^ Scafedz^ -i
--#-

accented.

#,

A.
--

.. --

.fL -b-

V
r^
i

i*

-'

r^-p-i

-3 3?:

[Mr IV ST.

36
No
1.

MELODY FOR FOUR HANDS


___X
s-eCountfour crotchets in a measure. 3 K.

-tiaro.

pp Andante

F-r:
i

m
i

m
-!i

-i

^ _JB_-^ B

-s>-

b=g:
^h-

^
:tjs:

~r

=E
t

r
i

T"

:xl

_SZZ3?I
~3

5St

*z=5: h^EjsE
x 22:

31
EE
HKCOXDO.

JSEL e- is:

"

1ST

s
-rg=^:r
=1

^^

3E

f:1~
fc==
3z:

(
j9/>

Andante.

ISZZSI

:SZ isF'dz rsEEzE :P?


"i

^
r

isi

3
:

is:

== 3 3!
c
-<S>-

-S--

^_3_
I Ol ~~r

-js-

^F^#^ ~X
=
.

x
cixi

-&-

2~~

'&
izcii:

\2L~-X.

#WP
1

rg*-^:ix:

is-4-gas
-Xu

ixz

f m
1

^f-T
r

sr-J ITS?!

TE
I 1 i

_SI
^a.

"r ^c=ezr^'^T' <9-

^F=
isi

IXZ w

=SE

*i

~i

si
X

E=F

~3~

:sr-#^

isczg::^-,

S-L:^=i: :zi l^l

I -^-4-

T
rjizix
:

IX

__
:

~__|3
:

=fcpa: ~ x EE

g
"i

"i

->V X s>USUI IS

~zq

:=*
IS

i.

-fs-

SI

USSI

ix:

9-9-

fe n
:#'

r-ft-

_4_

zsz:

4_

F=^=F

-2=r o

3Z

3ZZZH
_s.

-a-

~x:

=3=^

#3 *t
X
:

T"

ipz:

^E;
p:sr

15"

"Or

-&&T
i r

iii ^^
^zi:

#-

EE
_2X_

T-~fs-'r:si = ^rc^
:az::z

=^

zsr_

Note.

When

possible, let these

little

Melodies be played by two pupils, (counting the time aloud.)

^5

^i;

3zzx;
-sr

No.

2.

MELODY FOR FOUR HANDS.


$$

Andante.

PRIMO.

SECOKDO.

3
'

1
1

t+* :pzz#~z#" Srtrr


#-*-^

X
-#:

-|

zt T. t=zm9i
i

>

rfEF
/

'"if

'*

P;

irzzrzzi

-#
r
i

r r

rzrzi! T^
i

r r

r=

M ^^
t#
..#.

=s=s
2

^=3:^=-S:
5?

3fpt

=s
X
i

r
ffT

T"
2

toTz:
f# -*-

I
i

r~

ezzzznzzztz r zrzznr

/ n~#" r

-ZZZr n r
r

S3
4

**tf

^f
~i
i

:c

r
"I

1*31
z r~
tz

2
1

tzzxzzz zzi:
i

r^

r
i

-C

rzzr
1

jZlP-

~L=-=L^ZJ=:

r*d
-ft-


i-i

1~

3=i

JL

ze"a =i=i =?

^
:r_r_r

-i 0m *:i
i

nzzzwi
i

~i

=,

j== S=S
i

-#sP

"
,'

:#1ft

:d~J=

rr* iJ *5prr-j~y 33 =S: 3^ :?z^:


:<?=?:
l

:=

#i

r H jn j~ 3~H HH Hn -4-|J~j
=

1
i

-|

:ziz:zz

n^ *
-w-Gt-

s-=s

:it:

T-fr
~i

x
r

8 D. C.
i

lfc*c zrzzr

{
*-#

^a^t
X
i r

hz

::rz=fzz*z

:* x:
##:

**$=*=

HfT^T""tf-:

*=5E

LESSON
THE SCALE.
he scale is composed of five tones and two
I

XVII.

SCAMS OF
c MAJOR-

.ZfglizZZl

i^P

4ft
fe

5
f

cg^F

semitones.

Scale in C Natural.

^^
I

JCEI r

^
'i

P=^g
T"i
r

CT

r> s^

>:

i
**'

-iZZMI
Tone. Semitune.

Tone,

ZZZ^ZZBl
Tone.
Tone. Tone. Semi-

SCALE IN TENTHS.

3gg
2

fcft

m^m

>~^rl ^r m~F'T r~T~ r-p rffffg?


*
-

r~9m-~

IT

<s>-

# , x
i i

r ESEfctES
Major Mode.

r~i

f-Pi

The
scale tonic tonic
;

first
is

note in the called the

|p"

.i*i
i

The

supersecond, second
;

The The inant The


fifth.

third,

mediant suhdom;

third;
fourth, fourth
fifth,

g
2
i

& n i* J=m-j X r-r * * p.f-f


r~r
3

J # e* x -#- J
i_

33si
3

2ese

SSduir^r-P"
c:
c:

^g
SS^fe

P^

ti*.
:S

ss

2a:

dominant
submedi-

The

sixth,

ant or superdominant
sixth.

nrx:
is call-

The

seventh

ed the leading note

Beventh. The seventh degree is always found a semitone from the key note or tonic.

EXERCISE ON THE
SCALE.

H5B?
%=j*
=B^

u Tin si "** *H7 "IT


P# n
3<=3
1

,x

*x

&P1
LGTJ.SLH

KIT OF C.

Ffi*
~'r\

Sjfel

XI

Key of Cb.

The
the
ural.

leading note in

key of

is

natJ

rfxt

i#

~x sp:f #
#^ x X
2

rrr. -rrn

V
~*#jt z *~

en
I

M~l

IST"

:z=

TfflJ

rr11rn-iP- :za:
3"3.

3fl
tm_

Hill
Leading Note.
Tonic.

^55F
i

'<3-

T-p-f

m r i

pS
*P

- P_rnJ
irscz:

TT~n

tttV # *

53E

l^t

t=mft

Key

of

E.# #

# #

The

leading note to

EisD#.
-*7

rrn iT-H Mil MM


'x~
III
!~i~i~
i

SSzBxr-

Leading Note.

Tonic.

/gy

nrt
III

'7

39
EXERCISE INTRODUCING THE SKHHICAV1CK REIT.
Allegro
Major

Mod p.
is

The major mode EXERCISE ON


in

that

which the third note of the scale forms a major

third with the tonic.

RHYTHM.
I

Tone.

a
Count eight quavers in a measure.

Tone.

a-

Major Third.

The semiquaver

rest is

^5 i3E|K5=: SESii?
ft-i

3ZX
3-

9
"'

/r-cB=*-

5^*

equal in value to the note.

3:
(1)

Semiquaver

Rett.

*W-r-

sg-zzzzfa.g P2I

_g
3

*&

:^ 22:

T9
3

=1

T
: E9 t H'? 3ttfe3cd

Semiquaver

C A semibreve
equal to

is

sixteen semiquavers.

Semibreve.

E9

0000 0000 0000


I

Semiquaver..

(2)
Flat,

A
note
tone.

flat

placed before lowers it one semi-

natural.

*P

S^5
1

4*

flat.

r-

2J

21

^F
;e

3
E flat is the same as sharp on the key-board.
is:
E
flat.

2 4
3
! .

2
I

4 2
!

I '

tj
Lento.

2, 2 X X jr-r n ttt f-\


4
,

>

'

sm
7
/'

D iharp.

40
Andante.

US
T=M-

3
r
t

Practise

this

slowly, and in the legato a style, giving

study

STUDY

I.

o1SL
22"

T T
E2I -ap-

"'

accent to the notes formslight

+&

ing the melody, which are marki by this sign


:

4X4 "-M~!~t+j"
X X !><

FFT?
?
-L-i
i

2^ -#-

FFF?

r*

v~a

1--

TX"

^ SeWeS

4 .1,_3

_.

E^E^E^

41

LESSON
f
OF
G.

XVIII.

f>>

TOq?
E|EPE?3:
r
"I

- ~

jff*

;^fcj

~ r j 7~ J 3-3* a

tS~T2Z=:*
E

m^.
P
1 i

r~ -

IS1
1

_r

"i

r-

3E5E?

333 EE
i

y.

Zt-ZIZIIEZ^

:?=i*z:*rzrz:z:z_

;a=BES ^=J=zH
inzx:

r r
1 1

m f

yrr 3hf r rrrfri RSy f rrn r rj" rrr


m
-

IW

^ r

m
C^
1

Z3
r

#-

1*-*#2
1
1

-Ft F

m
i

m
r
t

rii

1-

r T

I_2T

#j

'^F fc-rfc}
I
I

fB + B

'Pr

Wg-mr
i

T'rrr

:jac

Wnsg
3 2 3

"5?~

r1

F
1

*jta~ SB :rrT-rzxz:fj -Hji-tW


1-

-Ft-F-0^
.

SB S&S

taEgSS rrr ^Xj

tt~t- r~:rr:F-_0r.r
1

^
3*3*3
f
1

i# X *^0^ F - tJTC r"" -t--FT-Fl* m* ri r-rr n TTTl rtTT rr E


X
"r
.1

mss
"t
1 1

--

<g>-

*:?;i

-fT-f^b-jt-x'

rrr

J'

it J
-3 4 a 3

^2

Fr

rj

rT M rrrn EtEfE 1 r rm
r rr

3*3
r"r-r-r-F-#-*
~r~r~r'l

rrri'
:

i
-*
Cm*~mBZ.'^B-m

1X1 x

t?T-prz?T-s

4*^ J

tTT1:

iJ.jr itfadzuaj:

42

Ul
V
of (1) Abbreviation
tiano, (soft.)

exercise
in

DOTTED
NOTES.

/
of (2) Abbreviation
te, (loud.)

'Id

flFr
(2)/

3E
f-

This sign indicates

w.
3F?

a gradual diminution
of tone, commencing with forte, and ending
piano, at the termination of the angle.

*&

SH-

mi

w
The same
sign, re-

versed, signifies a gradual increase of tone

from piano Xo forte.

Andante.

^zrzrwTf^l
(5) This sign signines the union of the

-2 -jt

'ill

two

effects

qmTTTjY TT M UJJi "

5^ fe^SS fct ^g^BS ^3: T~r


2=
-i

Ml

^f

rS-

:^2:

Crescendo.

Diminuendo.

-rg68*r
(6) This sign, placed over or under a note, signifies that it should be struck with sudden
force.

SE

s^z

:b?s::

43

LESSON XIX

PSi
-trzf
I_2_l_:t

g3
^

-"

1E^E^
i

5S S

PS S

f: ic

f^p

-5^

* j

^z^5EpgSE

frn
zzzzdi=zaz:*;_:

ITn

2 1

M-55

c*:^:
T"

^j^
I

rfjLr r r m

: :3~2'3'yrrT~r~f

=.

frsy

^i

-*J^XJL

i?zH-f-H
iw
4 3 4
ft

'.pf

-a^a^--& mf mf~mf-

H^zF^^lrH ZI 3=fj|

^^^ "^n rrT H r


yj~i
3 1

"3 9* 4-'Itf^r1 2

"!

rJCXx * 2
1

as=E

gaas

*--

X
-3

rri~n

rnPT~r

,-m 2 -ar~
-<S>-

nrr

44
Andante.
2 _X_ 3 -X_

EXERCISE IN CHORDS.

A
-#^0-T-

4 -4"

~r
#-a
-*T
l|
<

.o:v

"on

-S

"g1^
-

IZ3

-4 -Sh

F3^
1

^
*
c:

4 -4-

X
2
_j:2

~W$X

-<^-

t3

-4 S>-

te -

"

-2 -:

sfc: -Hi

(1)

Exercise

irith the

for the third

melody and

fourth

fingers,
for
fin

and an accompaniment
the
gers.

MELODY.
3

other

XT '0JL.X.' !*Txr8fVxr* :Ir_x.

STUM

S3 S3T* IT
U

ijis:
I

III.

i*

'

SJ

kf

^3: T
3
zxr=nrx_
i

-4- :zri

is
i

"

C:

LJT

~ZJzizrz

Accent (2) he notes of the


melody, giving

them
value,

their full

care

that

taking the

accompaniment
does not dominate.
pre-

^F

3
h*-*-

f S SJ T =3=? *'I

-*-'

--'1

SJ

f Nl

:x:

tj

^feip tr~t? 2. El 5=
X

=fc

T T

WWW^r
X

iz^

J i
.

..:.

45
*
*,

*r
__|

##

Jr

-3z^z^-^^z=J?
fcj

urn

5+
'kj

r
f-i!
fc
f-

-*tP-

IS

1svi -2

'kj

k'-'kr

i p=*^ #*-+i 1*T^r 1* t1 T L/

t#^

:?zs:

r^zs:

-thttQ
:xz

;g=3 i=^i=j 3
:

^Cj
Y
1

lx_
j~"
ijfcr

-*i(^

321

**

x. LESSON XX.

z$

'

SCALE
IN A.

F^ ^=a B

*.+-** * p r r~
"I

:~

-# Pzzr f f-l-f n i
I

rr="

^az

^
i

3
1

~P

^i^^gz^E^gJi

IB

^
m

x
i

tfc* K!=zfc:

P^

3CC3 r^

#-^
|

-r-r-r
"i

^fciECfci^ r Ftzrzx
nzzzi
i

-P-

t*^^T_

rrrzgz~
1

5T
x
L_t

ea

" r

2 X P * m r *P r~ ^ ntnzdzzszff; 'vr
3
'i
i
.

r^F-

S3EE

F?" m~P~r *EI


3

FP

^====n=i=w

:?z#:

JE^zEE

3:

fc *

J i r rr r r.g EgjjEj^ jggy^


.-.

-Q

>

ICZTZI

,r~

~~r

?&=+ r f-p-9-P
3
i

ii

T~i

rn

n~a

<PJ=JP^ zzg^zJE^gz^E

S^3


i
i

:x:

a^zzT urzzzr
d

T
BE

46
Andante.

EXERCISE INTRODUCING THIS SIGN,

(1) Exercise
in staccato notes

for both hands.

Andante quasi
-

Allegretto.

12

(2)
this

When A is sign

-*&
STUDY
IV.

i ^V-f-r:szizxr
t

ffl
I I
J

=t
TEW.

placed over or under a note, it


signifies

TEN.

that

it

0)

should be struck
forcibly.without moving the arm.

%^g&E m
1 |
|

m
f

31
TEN.

TEW

(2)

4 2

47

p^m^
1

$* M

L-J

8 u'

a
I

M:
X

^
T
r

J_1_L__I_

-***=*
3se

tw=a

J^il^S:

5^ HE

T
i

5fc

~ter "^a

I
TEN.

P
JL_1
"*,

j
BC

TEH.

-#::

"9

-fit: HI

3
*1

^
4
I

X
gins
:~T

j J
ucia:

*-:
*-

-#

h#

y?
Lj

r=

-#-

f:

S^
i
'

*
f

12
i

FES

c:

t
j
i

ft ,1

fe

a SS
S
, i

4 f=ff=F^
*

FB r

tS 1

4 J

2,1 L
QiSC

S
A _U 1 ^~r PFP
T
i

S:

t#

ft

i"

g ss
f

y 1

:
l

~i

-pT"
1
i

J* i r =T :r-t^z
i
I
"i

?EE

t:

Jgg=^E

iM

JS-:

:a:

48

LESSON

XXI.

*f

r#-*
I

* pTTt m ftft fl ']'] r r r J * J


!

a
,

sliPPI
i

_^>

is,

m^M &mg
.

1
-

5E

zt c-r-f

iz* 'r-r-p-*r
it^rzrz

t A*

*:** _:r; f .,.

m=E
"i

:cnD r

m-

r TIT

ji
1*

VStr"^

~~ff~ rj^r

j Ir~P--jr

3"
'I
I

^523

S !&* fflSI

i=*

^Efe
WALTZ
MOVEMENT.

49

Allegretto,

STUDY

V.

~~a~T~j J-

5 H ex
i !

~#~3~

4
-fzzzz\
T~,

sm^mi^m ^ 3
m
c^:

FOR CROSSING

THE HANDS.

a fre(i)

:1

Z~r
(1) Play the left-hand notes
slightly staccato,

and

be careful

Mfc*

-J-3

-^3

=3PCiP
id:

m w&
mnx
J

not to derange the position of the right hand.

igzn'ihtr^iH'nzT
X

^A" 5

xzzz:

*G

rfj^-F|?

-^-F

1PTT
3

lJZjM

3 IZzE xrif czaKCl -i.i Jit* rr


"i

a"r~r~i

:?:x:^:5i 1^1 L EC

Hr :zr:

aSF at tsfc -^-v-s -fs-**


i

-ft

p
X

I
"

-i

lizzzizzcz -4

ZJ.

m
X
P
-t

zxzzfc

s
r

tfcfcSzdrzzzrmdzcz^izzz:^:
IT

X
i-

x
-i

-*

9
-'

=== 13 % s=
M

::t

:3zz#

2L

<~

f-vZ:

>w-

iz^-

:~xzxz(g|^ zizxz^pg

ISI

3^

Hfc*

rt=s

push I

'f^ iS

^
3

3E3
X
f* or

^R^ ^ 3
3S

SI

ip
I

,--*-!-*

f*EEE JIZDZZZC:

in

LESSON XXII.

t#z*

rt

*=

SCALE
Ilf

^
Ffrjji
Zr~r-\

tfr* * * x~^~jp~f~r"r-g U^ ^eq3?


p_j
1
(
! I

ri

-i^r~

^^
^
i
i

~9o~rzzJ^^ZZ. r
i

2
<*

B.

#vj

_r

epg

w a 0-m-i

:izrn r-

-*z

m 0~P~

r =-=w^ r4-g-P-F

igg
-#-

r-^zZZ

f=Wl^lv=il J ^^SiJZ j-r-pH

r~r

tzi-^Pzvziil

&$$=

W
:

ac i*EE nzzzz^zziiJZZTZzr:

O
1

J
l

U#-* m
'

_.

/m

r:-F

s
X 1 X 2*4 3*3
:rnzz

x
:*ie
1

~*~

9.

fry qj . P f rfrfftTjl c r f >

r
L ii

f^
i

*E2

"

L
f

T~

^ f^=^d

S^fFf?^

51
Appoggiatura.

EFFECT

=P
to support.

Appoggiatura ; an Ital ian word, which signifies


Appoggiatura, or Grace Nott

*%tgr
Lento.

(1)

When
it

a small line

is

drawn across
giatura,T

the appog-

should be exe-

cuted with rapidity. The appoggiatura borrows half the value of the
following note.
^

J#

(2) EXAMPLE.

-ett

0)

fP=
X

s
X
-- --

EFFECT.
note which follows appoggiatura should be unaccented.

The

the

ti 55

I-*

Han

Jt-IK.

5Q

r_

The portamento differs from the appoggiatura, inasmuch as it always commences on a more distant
interval.

fL
ffn

W lA

igW
self.

'rF|f T~

t
zn^\

fa

In the portamento, the small note always forms part of the chord which accoinpar.^.-s t'.ie note it-

:*E
\

i^$ =^~n
The portamenfj is of one half the value of the
not*
itseit.

5?
Allegretto quasi Andante.

ii
( 1
i

1
5'
:ti:

Exer-

ise on the ap(>o7ia'urafor ,.i. Lands.


.

v
STUDY
VI.

See5 3 ^
s

ztz
:

p-^-

^E%
~=v

S:

(i)

The Short
ippoggialura

BE
r# *_i_i.

t
f.

-H 8 "- %
i

-p ^
1

=rzT=z3
'-=
i

f==:

H#-

EFFECT.

"^

f.

3==! fff

gfeffiSSl
"=

:]Z::ZSLZ:

3 ^rz-__.=zr
uzie:

Ka

fi
-=7|

'1 I? ^pL

4P3r~#
i

~'
'

^|J=l3 S===i
**

-=1:

'-V-

T
3

3=E
3ZEI
s

~T 3:
zr

Zi
3

^
?
d:

A
ZBZg:
-ST

Fine.

S* x
#:

II

zz^WLzl sr

ft

i!L3"

1r-

:3E|:

ftM-f-^-i
3
1

i _zcf: *4

zzxQK
"X"

x
i

nS:
I

X 3

-X#-

=3:

zrS
B
1

tI
3
1

p-c
a :int:
X
3
1

BE *-g
4
1

fe
X
1

zznsc

4
1

3
zcz-'i

X
1_.

X
4J
.i_JL

11
i

X
r

;ft

|#fefe :#feife
3

ip-j^P T ~t 3 cze:

I eye

-xg-g-flg-

S^feiffefe
r
fc-

**

SfeBBS

"rt
-jm

m
S

s
Z3ZZIZ3ZZ]

44

TZ.TZJ

4 :z::a_zD

J!

X ~r

3
1

-X_

'3.

znaznzs:

yr*

3E
^^ D.C

Id,

Jtti^i-sfr-^P-g- ttp-~rf?-~ -r=r 3Z3I :t a ZZZ3L

&

4JL aJLa

^E3

tfm-^+p-

*_-=l ZEgzzi E2S3. :#'


3.1
3 1

LESSON
izz
H

XXIII.
3

mwr

F#?

"i

'

Fr

r p rrrf rr-f fF?

.1

1:1

" ^-. rni^r t TT^ Fff n^j ri


i
t

SCALE

53

js&m 'JS^^^
2 3
3 4 3

4 3 4 3
T"r"" r
"
!

iTH--z&
SCALK
Hi F#.

'r-f r~l

n nn

7T

T-r;ri rrg T

rrn

fe^S

r rrr
tEfifetasatz ti i rr~

t=m us-mfc
W^IWJ'.ZM^.'M.
i

^^fe
Moderato.
MINTET,

3*3

EhEf
3

3
3

Abbreviation of
tbe
Italian

word
(very

fortissimo,
loud.)

(2)

;>;>

Abbreviation of
tbe word pianissi-

mo, (very

soft.)

_zr__fczc

r#&#=
(3)

t#

TRIO.

This sign contradicts the double

^S?:
-rf-rv
-

^3EB=
3
i*

sharp, and restore* the single sharp.

-X.

-f T-T

i 1

r
r
~i

r
(zr

3?:

rrrrri r-i r HP r T~~r


i i

t~t~t

Kfe rf=t

#g-
I

*g-

*T

1>
-#

BE

"i

T~
r

T=~T 4 4

54

STUDY
(

VII.

1)

Exercise

preparatory to the itudy of the trill.

t*

w*?rri*yfi*itetftt
i -0-

-r

rrn r
'

~~

ri

rrri

rfyfyfyfyfyO-A-g-o-gi i

n-rrj ^f-r ^pyirjirj rr-p-f-jyIt rT^T^r


I

^.

^r=^:
:#r-C

-F-

:=E=z:^

' " j> i>

_ _ 3

_.

SS

&

l:

'EE3^M^I*
2
2

?iJ!j3395

is

?=>

-S>

is:

-w-

'd&iJ^UUEB

fc-J

'w+~ r-i

f * i * f-m-f-wrf-m f
' i

ir

-|

L^L^|

L~

f^f

56

LESSON XXIV.
r#:*i

___

ir*SCALE IX C#

^_^

#rj

I"'

ii?z_rx:

Wii-an-

**

g&f|P
3

-ft-

~f

Srj

..^_

5
* i
rf# s
-#.

:=:

l*5=i=i=l

ffl^t

-4

-dl
13.

zzrj:

-&

*3

1=}-

^
:izj:
~~i:

-<s>-

Hills
tfcfe#-i

^tf

gE^ K

f-f- m
ZZ22:

U--U
V

:?zir-*e={
i

9T*
X
2

^H
X
1

Ti"3'r'

<-&-

#-

g&UrfTIlTTJ

rfS rr _

rzrrizt:

- -

firf?

y^ &

! 2

^?S
T~1

rrrr

I2?_

rH? m
JL =#

^f

X-

r nri 1327 rrn

- -

m
>-

rrn rrrr rrrn rrri


i

'

I#5
5P

2S irfP rrn rrn Trri rrrr


nriic
'~a:~r
:

TTT

y-rx
a

rf*p5JgZ??i? rnr

-<5>.

art s
T~1

FPr-Ff rrjr rrn


-F
-

^,
rr
r~i

i~rr tor
r~

-a
:

2 X-

ft

EJ

-r-

rrrr-rrrr-

Lento,

4
-US-

r**rr^
STUDY
VIII.

(1)

LEGATO.

^BS^^Et^.

2 T~r f-t-r-tf-**

r~r~ r~r

6?

te
ft

a
(1) Leg.; abbrevia'ion of the Italun

w
r^
i

**?

word Le^alt,
signifying It smooth. the reverse
Staccato.
ia

at

fe~
rrr r~r rr r-r~
'rr"rn

ir~r r-r |

r-y-r r~r-i

r-r~

- r^-i

r'rr^T^-rt

^r-rrr l
4

3I"3Xr2

1X1X1

"-8-^: ff i:-^f-r-^-r-r-r-r-r-r-|

;^ef
st 21
^3"

sSt^=ei :

*g JS-=fffffp fe T
"r

ffint:

mtfcc

NT rf

#f

Pir".

Atf.rr f *.
j

topE

(2) Rah.., abbreviation of the Italiat word Rallen

tando, signi. fying, retard

ing the time

No.

3.

MELODY FOR FOUR HANDS. ** te.

m*

,^_.

No.

4.

MELODY FOR FOUR HANDS


Count four crotchets in a measure.

5*

$ Andante.
PRIMO.

(1) (2)

8a

This sign indicates that the notes over which it is placed should be played an octave higher than they are written. Loco. This word signifies that the notes should be played as written.

0)
To produce
this

IN
Lento.

ARPEGGIOS, THE HARP STYLE.

fleet, (arpeggio,) the notes should be

ly,

naved successiveand not simul-

taneously.

The

ar-

peggio

is

by

two

signified difFeren

s-gns.

mm
liT 2d.

EXAMPLE.

i-&-

-o-

In chords marked arpeggio, com-

mence

with

the

lowest, and sustain each note until the

chord

is

complete i

by

the upper note.

EFFECT. The
notes com-

posing an arpeggio chord, should not be struck simultaneously.

Lento.

EXERCISE
BAD.

IN

=t

ARPEGGIO
CHORDS.

i-\

GOOD.
TEN.

TEN.

TEN

TEN.

TEN.

TEN.

(2)

This

style

of

arpeggio requires the ihat fingers hould be raised


Buccessively from the notes which compose the chord,

Lento.
-V-

i(~~3a
CHORDS.
(3)

^EEB*E -*.-&-KG)'

~3T5~ 3$fflr

"x*

d==^4 ~J7Jff~
~zz*zi:

HTM:
'TT

28E
"2"

accenting particu-

semibreve forming the melody, which should


larly the

1-

:=^=zzi>2t=H

be sustained
ralue.

its full

2==^

"ST

W
4
U
i

"I

T^-"5

ElfF:
93-

AH
i*eu!d

(3) the

notes

imposing a chord ,
be struck at the same time with
the bass.

=
rz
r

^=3 r r

-
JSgl

32C
-GV

-o-

5SS8^: ~sr~
=#4
"23""

3q :ez:

3?"
-S>-

Articulate

with

the wrist in passing from one chord to

1M
b-^

H-fif

saothei

ZSTL

4^
s

"=*-

trot

ARPEGGIOS,

or

BROKEN CHORDS,
Arpeggi * (1) (or broken chord;; should be consi ered as choni.
i

FOR BOTH HANDS.

and

fingered &-

IHTII

cordingly.

\
<

~SElZZZZJ3L

~ST

-3&
-S*

^z:gz-z **3t
(2)

it
?:

ib

55F

f=

SI

83:

lTPST P ca

-3-1

(2) Exercise on chords with notes


tied.

X^

s%

x J5:

+1.

bf

Care should be taken to give each


note
its full

value.
is

r_fe::

-X_

This exercise

^F

very important to enable the pupil to play music written in several parts.

JLL

S-#-F

IS

is:

{
g:

sr

-**-i

"sr

:s:
x

"2?"

s*

:~:s
i

:igp:

xa=z

F^
X

3=

T5f
X

jDd

-*-

ifc

G2

ill
Fingering cf chords in C
(1)

major.
In practising this

-jrf-;
LESTO.

f^zr^ bs3e^ gfe^lf *


Jr 1
-

a:

exercise, be careful to observe the exact f-ngering of the chords, so as


to establish

an

in-

A ^S
a

\zt-

-jf u.I*f
:r

^f
3 -|-p-

.t-E-

gte igg

TfH-ffl

**

variable rule.

Practise

well

the
in

same exercise
simultaneous

w0m
FE^EB=-tEEE:

chords,

by

transinto

posing them all the keys.

FINGERING OF ALL THE COMMON CHORDS,


AND THEIR INVERSIONS,
All common chords are fingered in the same

IN
Allegro.

ARPEGGIO MOVEMENT, MAJOR AND MINOR.


4
3

wanner
zeys.

in all the

-3

KEY OP C/
K.ght Hand.

-f

-i.^:.

^il&
0~0
2

-&
Left Hand.

3E "XK

Count three crotchets in a measure.

KEY OP

Legato.
G.

bfi

f-0 1

HKT

of O.

#-3-

-
"ST"
2_1

i- r
r

^E*
;
'

ea
l

".(
'

!
'

1
i

r m r
i

itrrrt-**

zztezjzf
%--8-

zxzizszr

5 0-1FT

rzi
I

f ~f w
;

I I

E*V
F~

IF
KEY of A.

zfczizu

2Z

fcfc=
sjl*=5

til

-F^EEE
r
^t-

--*- -r~r r~ r~ r-y-*


-'

x - x

3=4:

^F^F -s
12
4 2

^ ^
WX
x

?=FR T~#T
1

-s-

-S--X-

"i

--X-

+-

^
'

*]i

^v

*a**

HE5?*
4 2

^ ^l
l

*
2

KKT of B or c[>

isggllg
X i_ r *
_

jl

# X TZ x :rz:cZCi_L
i

-ZEzllttr
X~*T
EZZIZI

"i

-_K

ixztzt

"O"

KEY

of

F#

or b-

^^^R
z_:sz3Ziz

"i

m r
1
i i

3.# .

3
_
(

__

'$%'-

i-*

*x<
2

sF
1X1
3
or'.
2
1

2
1

KEY

of

C#

or Db-

2^

I*"

2
j

T~T~"r*

_J

x---FFt--#-x i r-T~- #
i i
i i i i

"#-i

.#J*Z.

tsrr-m-*-

^3
)

#-L^?3zazxz
f'l ~l

*T*
I

*
I I

"I

V
l

d&gtfcf
4

*^=S
x

-X-*--j

^x~? 8 2

S? X?

fi^H-FFFrFxr
Same
fingering in both Keys.

Sa
*

--p-r=

Wr
1
1

KEV Of

1*1)

or A#.

#_

sjjfEfix
2

-f-

5E
I

#_~r~

S
x

l-FT-r-rhi.- f 1
r

5Elrf

x
D#

^^ r

13
,

"2?"

1,^

KEY

of Et) or

Count four in a measure,

12

2
1

12-42

Same

fingering in both

Keys

(
1

*3

KEY

of C#.

Same

W^W
fingering in both Keys.

rffff-M

EXERCISES ON THE CHORD OF THE


IN

7th,

ALL ITS POSITIONS.


3
3

Fingering of the Chord


struck simultaneously.

EXERCISES.

r~ 1 -H-X-ilf-f
-"

X-^'P-'F _
"r

fV
"i~

T^*"*r"

r~

Fingering of the Chord.

__
'-&%>

r
i. ii.

&S+
X

=S
T
(1)-'3

-X-#-

OI

^z:z~iu:

sg=~
r-i:

^~

nP

~?-;g:

The 3d

General rule for fingering all the arpeggios, or chords composed of four notes. The thumb always on G, and the 3d finger on B^. finger always on K\>, and the thumb on C.
(1)

67
The 3d

finger

always on Off, and the thumb on E.

The thumb al. ways on G, and


the 3d finger on

Bb.

The 3d tingeon Ah, thumt on Bfcj.

Thumb
3d
finger

on F on Ah

The 3d fingei on F# thumb on A.

Thumb
and 3d

on

fingei

onEb.

(1)
Arpeggio.

Exercise

on

passing the 4th finger over the

thumb, and thumb under


4th finger.

the

the

_J_r

"_A^

(2)

Exam,'
sair.o

of the arpeggio,

ST

where the

X
-&,

fingers (the

3 ff~

thumb and 4th

+fj

ft

finger) are user' on differs n


1

notes.

68

EXERCISE FOR PASSING THE LEFT HAND OVER THE RIGHT.


L.. II.
u.

L,.

H.

I*.

H.

Sustain the minim its lull value.

^3

3--<5

'

UAMPLE
IN

ARPEGGIOS,

CROSSING HANDS.

Count four crotchets in a measure.


ft

4
8

mS
#3 _ "TIT
Lento.

21
;

*Eizp: rr

^epsi
f:

:gi
"i"
-<S>-

^rJ&=c

r-fe

s*-

s^
IN
:

^
u^
,

jEC

EB5S

EXERCISES
4
2

ALL THE KEYS.


2

r#

OWTINTJATION

OP EXERCISES OK THE CHORD

#W fel S^g=E^^=^?E=g^
_x_

_:pi; >

*F"1

r (-##
"i

nnzwi

i
e=:=-z-^i:fctc

^ *_

^
tit

OF THE

7tli.

frf
4

&

-* Pg=-n
V
4

-"FT

'

~r

|"

- x

r- r^agT

* *

&=&=i
:.*-

^
^L

K^3

X ftf"^

T*-# X 4

S
i

wm

f QJ-.

X ftfc

H=v

::fc

i-^^r

^?__
* #-rL:

&

tt

:*=3: XZaC

^3 ^*E=&:

^P

(1)

When a

chord consists of fire or six notes, two mar be played with the thumb.

70

EXERCISES

IN

ARPEGGIOS,

FOR BOTH HANDS, ALTERNATELY,

MODULATING BY THE COMMON CHORD MINOR.

C MINOR.
Allegro.

ssiiS: ^r
X
XZMZ

<i

MINOR.

2:

:.r-gv pm 3E"ESEg|

psl!|p

, r

Id

^j

f^
*

D MWOB.

^ ^?g^ng ^
"'offtfo

A MINOR.

F=^P^
3?T

S5rx-

^
fl

!=?-

T3

3 ?*
x

3E

h^^*
*- 2
r -#

B MINOR.

K MINOR.

g:

:
^ a

i-#-T-^^ 2

dtfJ
a*
1

^^-y^x^:
1

f-"
A# MINOR.

*^

F MINOR.
2

<-

^ T" -

1*1

:
#*-

" J^lt.V **;-)


1

BtRRF

frTpg.

*b*

i
1 i - i xu,. : fcfc#.

EXERCISES
IN

Wt3&

c*r

5
C MINOR.

Allegro.

t~!

r
i

--

-e-,

x r ,-[fcfc_!

gfe^g p*

xzc

ARPEGGIOS.

T=I=C -f I r
Practise the

same exercise transposed into C#, and C b with the same fingering.
,

-*-< r ~>5^ "TO 9 r^52

i i

p-^p-X-r:rz:ri2
:zr#~B"

p!
i
i

1
i

I
i

ir f^ r
i

- 1

j r X

e=*trt

r H-H-;
i

EE

zt

2zizxzr

-i

r
I

m *T>

-i

m~**
i

'*

r~i

"3".

9 X

* 3 ""
i

*
2

XT*!
*

2^3
*
1

-*-#
"i

*T7*

x #

3-S
i

rs

*-p ff

laznxzi:

1*1

13
1

S^i
4 3

Fi rJ

r~r"

I i I

~T*
JE

SEzra

y x m

- f

" p-

m
,

9
1

"*
l

#"
-;

4_3EZZz:
8

1X12
4
a

f>"
i

13

72

EXERCISES

IN

ARPEGGIOS,

WITH SMALL NOTES.


ASCENDING.

Moderate.

(1)

Divide the measure by four crotchets, and do not play the small notes until after

the second beat.

DESCENDING.

(3) Tht same fingering as in ascending

^I^zfzv
<

74

EXERCISES

IN

ARPEGGIOS,

WITH SMALL NOTES.

?-i?Pf jT* jpf- rf


Moderate

iffff t rf Ej?Pf

P
fa

*
-

j jf^

fef? fe n
ffl

! e fclf

ra^n

7r

SSI
i

rn

iTfrl

"rt~r

rrr

i
.

_j

'&

s=

fe ni^
i

W>

rf

Pfoy

the small notes together.

7
r

izflpt

^EEE^EEpEEgE
t

fe

-fC^

fr

3C
qz

triE =*=

BffigEE^ir.i3

*w

LJ

-U

m f^tffl #t
i

saj r

T ^rT"^?^^
u:
j
i i

'

j.

_^|fir_JL_4j>Lrf4__
r

<s-

Xl
r

na
=P-fe 7^ 74"^

3fy^H^-i

Ec ^ Hfl
cfaB

:bB

W m^^
Zlrll
'

?TTT

H-f>
(
/

Tt

^S3z&!EEEES

DAILY STUDY OF THE SCALES, IN ALL THE KEYS, MAJOR AND MINOR.
x
8va

11

O MAJOR.

The relative minot of a major key wil always be found a minor third below
the tonic.

RELATIVE
MINOR,
A.

The relative major of a minor key will always be found a


minor
third

abov

the tonic.
of C Major.

Key

Relative Minor A.

Major Third, Composed cf two too*

:E^E?E
Minor Third, Composed of a lone and a
half.

s^E?E
Begin the practice of the scales slowly and continue unti they can be execu
ted with
rapidity.
all

Give
equal

the notes

force,

and

carefully avoid

any
the

movement

of

hand whilst the 3d


finger is passed over the thumb, or the

thumb under
finger.

the 3d

(1) Accent wel the two beats of tin

measure.

76
vva.

B M1SOH.

>lf
x_
t#

8va.

0fTf-TfEr\ -JLftfgff,
a

#
t
O MAJOR.

-?-4-

:x::

33^
SZZ
:;f tat

*-* ^ *

-jrwrP-

*f_l

=**=5fciKeF
:

-s-->~

8tw

loco
3

^z#ziz5:
-rz^z* fczfcfc

&
#T?
3

fcEiM #

fe* r f- fa

P^^L

:_-?-= zzzz^ii

MM
1

m
gz#zz^zz3ztz:
"O"
-G>
"S3"

S3 <S>SJ~ S> 3"

S>
"ST

<S>

8m.

s
B MIJiOK.

"^
8a.

J-y*
3# "P

*-=ifc3ffi

^^ii=^^
-<S>
<S>

/oco

<5>

<S>

;-

jjf^pllfegp

:zzx

-fez
=^3

5T

L-2.

s>

a- -<s>

:sz

'*** *?EEf EEr?

f#

aiuvou

3-*t^5T
t#

-o-

.^s^
:s?;
-s>-

<sr

49

c&^

^^"^^J^^*

*^

_X

x_

^*3*3

?=*-? =? SSssz:-i^: t z?^zz:zz:z=zz*:#Z5zz Socj 2=*

*3 -"=t
,::;:

-G>~

JBL
I

zz
-<S>-

zzz: -IS-

"-

^- zr
-iS>-

L#;*

*A*

19

raAJOK.

ies ^3*
*"
i

ZT-rrL

w
zzzzz*-?!

"&&:#z

8a

-ztf:
-f-f

0- r l

r-

-+vtr
loco. 2

z ff^^-i

agaLbT ^
i

=tz

Eg=f=*^g
#- X

E
,-&-&-&
s>&<s>-

Ji

tf^fes^

Sfr^S p rf' i
i

r-

zxzz

*zj:

~f__zzzzxzzzzzz:?zi

j^zezzsjzzfzz?' *gz:

-tto- -> <-

7*

8a

C# MINOR.

t # # # #

80
* P

x
^-J

dva

^0^*

Z~'

>

*^p7_

8va

&s
8o..
loco.

^m

iE^^?fcf^=[

81

Xj

8tw

"
/ b MAJOR. f
u\)
I

es
\.

aZg^fc^xagzzi:

,~f~ zr~cr~n r
r
1

33=?i 7?=pii
~*10#^
a

j-T"

82
x
8ta
|

,,,

A"

sa

CHROMATIC SCALE.

fee

MFT
|

W
(1)

a 3

x -

?t8
ff

x_a

^^T TT^^^T
^

1 .J.3=f=

=
is

(1)

Tim most
finit

usual and best

gering, because

uniform, and
;

is

calculated to g ve equal force to each


finger.

'i

bp'

J ^
i

f
i

~i

rTr r
i

~J~3~^
-<s>1

5=JP>wf=fcw=S=l

-p
?=&?

J&r

E3E3 :#i*i

CltiiJL

V-

Q
:zie?:

.
1

mitm

m
v
2
1

-I

(2)

v x

, 7

if- f^ t r~r -*-**-fr cg=frtf=


~r

~rzz 1
'
!

f T ft
X

J*-

(2) This mode of fingering may be employed in a moderate morement.


I

3SC

f ftff f'rr
l

x
~l
i

3
i

1 2 2_ 1

[
1

:pdJf=PEE
r

r~ *32~~r~Z~l :3s
~i
f#
1

- i~ -^-i"
"
1

^23
-f&\
1 1

2
1

1~

~
i

32ZZI

EXERCISES
In passing the thumb
after the

4th finger, and. the 4th finger after the thumb, without regard
ordinary rules of fingering.

to the

Allegro Moderato
Note.
This fingering mayadmitted in some without being adopted as a general

be

cases,
rule.

Still,

as

it

is

dethe

sirable to acquire

greatest degree of experience and dexterity,


it

is

very important

to

become familiar with this mode of fingering,


because it is the key to * great number of difficulties, and may frequently De employed to advantage.

"

F-P"

_=czr-rz:Pz*-iZ#;*i5ir i *~*

^
Legato.

* 1

- *

>\

-h


i i

i
i

KEY OF

A I)

^yffl^M^B^^E^^
Eff
t"l

^rirztzizx

--=
r-ri

F# ^
i

__x.

i i

r
i

~i~T*'S-

S*
i

"i

f'9
i

r~

1~

FH^

-w

fZ*^*

n&4*?5

rx - kfcfffe r rtl
t
i
'

85

tefffrrrffrrfrr foz
'"
'
'

^S^s^
KEY OF GbX r#~rn
i

-~IZ'JLAhm~P

X
'i
i
i

T^S^-l

f r-\
l

r~i

n~f n
i

r~H

rg

8a.

ffi^
4

r~r-ri

y-|*~'

r~|Mrr*
X

'" ""^ * 1ffflTg? r ff ;; Jl n pi rr r^Ti~3~< C -

TtJ III.

MP.
'

r~i

'

=^

KEY OF

i<:b.

bfc* S

Pt^jJ ^ JU g F^

rftf S=f rf-M-H

g| rr

z^z

Lento

Lento.

MELODY FOR FOUR HANDS


SECONDO.
Allegro.

:
No.
5.

=&

=f:

EE
tf_

f-f

5
IXI

j>

E&
f-f
2-

i?l

V
-F-FI

-F-F- t~~i

j?
r
i

:f~F

2-f

-F-F-

;t-

^FF

f
-p-p-

F
r r
=F

F
$

f
-

-F-

Ur
\Fine.

-e-

m
afcabafc

-<s-

^
^-F2
-

p-

j"

r
m~

JFFHF

E
iT

22
ff-

:22i

"*
-s>*

r r

>

f*T r
fr*-|-

:zsc^ m

:c:

G*

gr;
Eza
I

--

-W
^jSUJL
Z^ZH

"~#" ~r r~r

jsl :s:
s>-*

2z:
r

r^
-F-*
P

-F-f-

-P-F-

-F-F-

-m-

f
F-F-iN
-F-P-

T
fHr_#
.

Zt
#3- - :
fcw-

--

-F-F-fJ

-F-F-si-

f^e
-P-F-

*
"i

*
~r

aLi

_.dLi !

--PF

-#*

:#-

C C* gizrzzizdbgzn^r

6*
f"

*
: :fz:

f
-i

t
3== r
_

F
8
:^_nz:c:
#*n*-

-F-F-

5
:F=&

=E

^ f ^=e|
2

:F:

A.
321

-=??=

ZXC

MELODY FOR FOUR HANDS.


PRIMO.
uAllegro.

W
-|

. r^ r

+^
ix:

trz

4SL

ft*
T 1"
"I

3 ^.

<>

=
X7
X
- J"

:xzz
No.
5.

if
3
'
T

ft

fee: fg i

a
4 2

1 x

=
X
3

qfi?^

rziir
4
1
-,1

=P

1-4
1
i

JE-

T
i

?
TT-

it

f r,n;; X

-jS>-

js?:

I#~g
-0

:e_J3z:

n. f?f j hn #f *J fete
~
i
i

^
i-p_:
-fry

ist

Fine.

ff

ap-

S f rrr
g

S>

*ZZC

^^
)- g-z
j

P=& y t
-p-

&

'

fci:

as
1
3_
~i

r~

ids?:

i^zz:

_L

3_

"I
:

"1

rr
4

-JnLJ-^

3?"

E^

^=z:

~]

-#*-

it

m C

1 ><

"i

n i~r~ fffft r~ ~ir I jf| r~ ~i fgf ~i t| &g

*
i
i

_fe
"
1 I

E j

T3

fe

I3^
x

-t-P-f-

y^

hFhF

\~~rj~rr
f

jr-Pzwit r~r
i

~t

=?

F=*

^P=FPhF

Pfe

D. C.

88

CHROMATIC SCALES.

via
t
1
i

.."

"^i-r-JI-^-^-Mf-P-F-^n

(i)

This mode of
fingering

should

be avoided, on account of the

1.

E~ ff

r
1

gg^g
r
"i

R-i

\zr

unequal strength

X
x

~X T

which exists between the thumb and the 1st finger ; the 1st finger being the weakest.

fi

V rrrrrw^ r
-X-^-2
i

-11-11

^S
Presto.
r. h.

X_1__2_X
.2
-2

bziat

f-g^=E

ib ? ^#_

><

*__

__.

EXERCISE FOR PASSING THE THUMB.

3X2 X

11

"x~2:xir^Z3-x_Lx _s:33-2zxzr m^-n-i rrrrnff-i p 3 r n Mh


T
[
i

ri

r~i

r~r

'~*
1

'

R. H.

(2)

Indicate

the

time

by group-

ing the notes in


triplets.

x-3-J.j-^-s-j-if-v^ X 2
*

f-f 4.^ Jj j^^-F=F f=F^*pi


.

.ft *_ -J X ci;

A
=

f=r ^-+-i-|
*
_
1

a=frFa
V
2
T
_

?/

-<s>-

1
2

i^^giPpi
j
i

EXERCISE FOR PASSING THE THUMB.

vy

2 X XiL ?

Xu 2 X x
i

Xi

!
!.

h.

'i

ife
L. H.

89

^i


|
j !

^_

g=j=^i=g^-^^
x
2

r>

p-p P-*F=-f=f
1
i i

ZT

rrT~r

Indicate

the

"

time by group ing the notes i

*,_bi b#
l_

\
T__J_
.

A
* <M * 5 ^?
x
"

sixes.

'

=
X
2__

'

P
-x-

b,
i

->
:*=i=5i-

3
X
2

* Df
,

-St

:j=S

&^3^

EH

x
SI

-|

~E

r =Efep F-
"i

T~

CHROMATIC
SCAItE^

s^iiiiigii^fe gs
"i
i

#'-b#

IN

CONTRARY HOVEMEST.

6
2
1

-p HP* -J-W-4
*

qZIX g-

Zir f t
'i
1

^mmry
1

f
1

T r~ T

~f

8i?-i f

TrffT

ife&e^ gins^
>4 -a
'

^IPPlSlRP
CHROMATIC SCALE.

DIATONIC SCALE.
Succession of
notes,

Succession
notes,

of

proceeding by tones and semitones, major.

lpS|
D#

proceeding by consecutive semitones.

feg^=S=Mil^i

ENHARMONIC SCALE.
In the notation of this scale, C# may be written Dfj, and vice versa ; may be written Eb and vice versa, &c- &c. &c.

fe^SI =il^Hii3N?z?=

90

LESSON XXV.
SCALE
IN

The minor mode

which the third scale forms a minor


with the tonic.

that in note of j*e


is

THE

EpiH
z ..

--a 5q^t ^Vw <4_rrri

saf

^Egjjfgfeg^

third

MINOR MODE.

Minor Third.

^& -w

H ' r -.-te^TT
gjazrrrrP
SSTf

=^E
^rpT^sf*

'

Toe.

Semitone.

.^ 3
err

rrrrrj

&
v

xizt*in TiT r

rrn rrrr
,-

b^j
(i)
Mordente, (or Shake.)

^7?g

S,
n~

F T f*m r Bg

T-f r

sr
ri
i

^
i

^gr =M5
^5BF
S

:C^
EFFECT.

*%H

&&fci S*35 n tife "ITT ZX


r^ r

3- p

^^W
ttti
r

>

=P=iP
The

t^S* tztztzr

-r-

i^S
$
ARIA.

^j-

CrrTFT

Pr*F FSEnr
*rl
1 1

HE:

small notes should be executed, giving the iccent to the principal note.
lightly

Andante.

r Good.
Porte.
|

Bad.
Piano.

-* &=3 pg== 4*Z_0 P


^-__i#
Piano.
!

not

Porte.

(2)

When the thumb has a note to sustain, several notes in succession may be executed with the 4th finger. The same rule should be observed when the 4th finger has a note to sustain several notes in succession may be executed with the thumb.
:

fll

Vr-EE f

T?

C2

Jl
:=

I"

:32D
jPine
I

g=

P-

:fe

EXAMPLE. 4 4 4 4

JBC

T
-I

::^sz:
2
1

-<s>

fl* 3

xzc

II
I

_J?#'_

Win

x5. EXAMPLE.
Ten.

4-S-

-P-
:t=

X X X X X

X X ft
1

91

it
-#*<1

^C= -=9$
#-
l

a>-

X
.Jlbl __
I

Efe
-fr

:PE= E=f=t

-0L

JL

2"

EXERCISE ON STACCATO NOTES.


'

Allegretto.

"rz

L
S^EL
EL

bcSS
STUDY
IX.

Zfc

~i~3

be

Sft

*r

t:

F
4

:
deranging
its position.

T/ie

Aand should be extended,

so as in reach the octave without

-J^-

:^r:z*

v- :^

SE:
r

e3
:c

^ ^ BT3
it

F
-^w

3EIJD

Sr
--

HEE3
x
-0-

"T

EEE
r ^~r

m
-

--

s ^(H
:

fcr

Ed

=*E n
3

xzzi: r -,

5~

A
s

fe

KJ 5 IF

Szffe Kg-.
3

ill J3C r^_

#^ a
H c?

Jt

:g :*i

*j:

*:
x
3

r-.-../;,- w lfc
*
5 X
4

\p
X
4

3EE
X
4

4
I

'

'H *zn-a
5=5

if-

:zxz
"i

^ rzzt r~\ k*" **


i

SB "T
.

a*
v
J-

Z3EZZXT

'^>

X
4
-a-

*
x
i

W=
X
X

izc
i

31

E
4

31

fEzzE

r j ?

5% TH1
Of

EEpi
-*r
'

:Ezzi:

"'^Sl

fuHITBRSITr] o
tMAD nv/

92

LESSON XXVI.
#

lE^E^: ?gg^^
:#zzr:<j~r;;

!-?*

ZZtlZZSICZZtzrzzfclZZZ

HIKOR.

^e=F

^E
3

"(

P rzr

e
I

-r-

E
J
4

^j

r~r-r -|
i

r-

X
Y*-

P-p-hr~rfy' w _ "I JaN*** f"*j* J-T^*1 zMzzHIT S-. =g?ffiE :-=!^izlii^zrr ^Jzszizfzxzzzzzzz+zzzi^izzzzzz'zez :J== ^^*

Kz
=

H
x
I

""

y
\7

^
:
1

KIXOH.

s
4_

m
*

=^
razz::
i

_##^
'

:*:

car

'

E-K=-g^I

T^"^%fc^i

1 i

o
r

S^=
ISOR.
\

ITT

r
r

J r

ii

ffr

^ 3izi"i x-2~r _ 2
^

z.

g^^f
2
f

r zi t 1 1=F=, 9=#-=3=
1

:
1

:az*z:sx*

* atazrzi

SgffZZ'ZZZZSZzzi r~r

m*.

*
;

fZTJr
f

Wfoj
A
"f
"i

T~

Allegretto,

t#-

-3-

is

a
1

3t

~3

EzF
.3

zczztzznz"
1

r r

-P
-4-

IE~zr
*i

WALTZ.
i

X
21

ii

r^*t
T

*-,
:lzz:

r
tzzzjzz:

Z_Z11

r_ ##2:
i

_zfr_

-*=-

E=X

fF-z

L^"

y Iff r^
r 41* j* ->

jS.^_

mi
jPine,

!
a

ir i! 3312=
x

2
t

"X~2f-

x 2
-[

-F F-

g^
J2-.
is:

P=

T~

31

99
At

=jjfe^
i i i i

:=ps^e

i_JLt^
EXERCISE OK STACCATO NOTES, FOR THE LEFT HAND.
1
B

^_X__

:s:

STUDY

X.

^--^-'f4-n<S-'r^* I J =*3
~g?~

W4 ._

f-

W=F-

~r\

^~r

r~

f*r-?*-

rj *
=3
1

r~r

Bis n_n

=NE

94
tft

LESSON XXVII.
B
MINOR.

?^Z

=r=F

t*=

-F EE f-f

55 -r=
L

&
I i

tfe

;e^e

?=

^ ^p
***

^r^ e^i

s^
~ff

FputCS^
a

Cj r~

**

85fg=3
3

-*

p
^_

r^F
*

^* c

r^

js S^
fl

[?"'

*
(i)
Brupetto, (or Turn.)

^FPFrV- pfffrtf
"i

Grupetto

is

an

Ital-

ian word which signifies a little group.

ft

F
F
"i

s
"-r-r

tor

The Turn
times
three,

is

some-

composed of and sometimes

gg
38

iL iL^-?*: f--g-F TT -T^*-*r7- r?-^


IX
2

of four notes.

Andante.
5

Torn

of four Notes.

^na -8-

iszzz:
<

ft:

rl
r

~~l

Turn
of three Notes.

SICILIAN.

Count

six quavers in

a measure.

f bf f w W ^ t * V
1

g5 d=5 ^B: * ^3j1?


j

'-ri

s: i

*-

0orTTO.

x
:#'

gfi

m 3*t

*
1
*
3

5:
i

pr

Irr^
=5=

HS

iS
^=x=
I

^m
Abbreviation of the Turn.

^
i

L-J*

3 illl

zr=3!Zirz

F
""

__.

'~g
>4

*4r3

5~l

m=
ai;

m
S
3

fc* ?
T

f' '

h*.

**
"I

^-'Hfp^-^
Turn

r
indicated

PF^
4
1

EFFECT.
i

ij-fr jr^a
X
3

^^^^
=M< 3=F
Andante
1 i

by abbreviation.

ns
ni"

CF7ztzxzzrjza:
2
i A
i

When an abbreviated
turn

X X 2 3
O.
1i

^
S3:
r~

"r

accompanied by one or more accidentals,

is

-r^--

they marked over the sign.

are

3E

M^L-xI

EFFECT.

JL

( rT~ri r M ri r -^-P-r^fVFtFFTitEr-r- -Fi r -f-P-^-p-j-F-F-r> -rfi


I
i

-x-^i

r~l

"i

i~i

i~l

STUDY XL

Countfour

crotchets in

a mearwre.
"_s:
-<s>-

n
wrier.

5&

--

All the notes thus marked, A, should be strongly accented.

95 f
,

A.

ff
ft

A
;i
"i

I?

i~f

mmrrr TT
1

?*?=
TT

si

-*~-* A.

rrr gEE^ff g^ff fJIi

# A

Am

-p-

jf

y1y j
i

2
-ft
j

-ft
[

J
i
i

r~TT

m
1

rr Ezifiliifcl r~r~i r
i i i

x
~

rP 1 x 1 x~l

-*

fff rrf fff4f r~r"i j^rrr^T-j rjr


-<s>-

S^
3:

ja2:

T
ji i.

Sr*

T n TTTTTr~r
1
i

^ ^3
i i

./l -

ii

p p *f r l> Effl=ffl ffgffffl


i

_L
1.

-#-^

4L 4L

pg ffis
(S>-

a
p=t:
r#
?

121

S:
4L4L

=Hfffl

FEE

yPyfyr* otui

PS m^EKa

12

i fflS
:
a:
--

as EFF
aa.

US
P_p_[=:=:
#t-p-hp4 1
I

-<s>-

BE :
!
tSrx:
-f--f-

tS:

-P- -P-

rrrrrTTr-rf:
2

p_P__r r Pt pTpj ~ r~T~T~T f\ p "n hf


I

g
Sl

"i

{ : r FT itt f#rpi r~r~i r~r

<
i i

UJ LL
4-

T rrr
I I

o-

**ff H
Is?'

sm gin
P P~
i

-P- -P_

ffufTj

21X

rr(1)

~
i

^V"

~i

r\

Th triplets in (1) the treble must be exe-

*V~

cuted according to the following example, to

-C9-

make

the

movement

equal with the bass.

#
*-

E-
4X2 X

i=^

nr ii
rr~

Jl
-"
~
i

'

Si

rT-T
i

~rr~j

QQ- 'LQrr~ r~rirrr

mr
i

rrT rrr
4

4X

96

LESSON
Hfc*

XXVIII.

H MOTOR.

H^

P^gg
1

*s2E

E^t
::
i

rt
iE33

3Z3j*28t

^^p ^
#ff^TTr~
'^^n
i

Hi
r
i
i

*_-

i^

_X fcM m=i
1

n:

^-f-g-j;

~r <T ffij**

gpgl

*~2
x

Il_ ~Tg

ll
_ _
_

2 g 5 3

^-^-j-^
i
i l i

~
i

q
!~

r
i
i
i

f p

r3za:
r-fizs
'

T**C

a-iy

^pt^-pppc
lazizaza:
l_

r
r#

ff

JLJL

QJprfnrjrTzg:

!- 3:

"
i

-f-f-Pf-f-f-fr r^ r
i
l

"i

EPP:
2

=E
L_C
#<

^> J
I"

ii

=3^grr^r-m
_
r

frtcfm t'^gffrit T~r


j_
~i
i

i.

Wzm
Bg^j

4 3

ES333;

U'*JJJ J^g
zqrnij
i:

:s?z

S
t
EXERCISE PREPARATORY TO THE STUDY

ftr'r

zzl:: yrrr IT
t
I

m
"i

ft

m * m-* m
"(

r
i
i

F=pts:

&
a

If

8"7~'l~rT"ir rrirr'h

Allegretto,

n*

OP THE
TRILL.

Hr-#

*=FEF?=FEw-0 r
'i
i

x:

U0- M
-i
i

i
i i

r^r~

r~
r~i

P-t-tZ-^-PP
g:

KS :r! 21
as

s>:

"1&~

* *=Zfrt=^T^^
zg:.

^^^-j^^^r^
-<s>-

-<s-

97
it.:*

Allegretto.

,....3

1
(i)

,#-#-

_? ssEfePg
i})p

3Q

STUDY

XII.

>
-0-

mS:

f -#
4

r
4

>

___3_i zz..sziiz?zjM 3___3 h^ss r


:sz:x:
*--

first note should be accentsecond ed, the

The

-f-

unaccented,
cording
to

ac-

MZ3d3 xzz r~r


_|
1"

fe ^=_z?_ IZZ
g
I

:*zc;

:i

g r !fe_ E
r

the

~~ r~r'^r~i~r'^i .gzzztBzzr

2 i* "TV [ f"l rysj-n^^-iav --pis


I

"
I

B.
i

g ~

t
i

:_z?_z?zEz z
T
r

r x

>

T~ m E SfpEE * fe JZ P :j==S r* 3* r * r z> >-z w t _zt w j~rri


>*_

~rv

21

J551-P

ft 2

i-gn
fl

K:zzz** aj # 3-

-w*.

_:
^fT-#S
:

^ 3
-r

4z~

ezzz

zzz>-

>

3d
-frF-

T,

iz|ZLfzrz^3^z^-3
b#

3 irsr 3EJE33 i r ri ."TTIL


.

IZZZZEZET

/
:
zzzj:

(MMfaWP-K glggl P-^ lz:


a

z,

T~r

ztj"*

"i

e r

5t

__

.*

is- :z f*z*r-]V

_s
S

13

-n-i

Tfgy" HS^

zee
x
L
ir

f^-p-*

4
I

-x--ag=V rf=^

S?zz54

^Z^dTZ^Z
e^^i__p:

ZZlfzZZJ
1

^~ HI T~
1_. a

2_X
T"

rf- f-g<~^SIr!-tZZ^LZrZ5" T

r
Z
J
I

EE

iife
::

-7

z:

F#-

T~

EE :zzz:#zz :zz
"i

.
I

TT "T
TT;
1

P*!

Z
l

y-"! fcf
g3

jr-^-*-^

.zifzb: Ezzd:

:zzz_

S3
. a ~<
_r

:3zzz:2zxz"

-#

K-

31
i-t

-r-'rzrf -^->-*
^

m~
o

^
zii^zz:

=F

TSZE

Lr

m"f"

"T
x
2

F= -#
i

r
-i

-'c;

czc

ZZZ-'t

if"
3

98
Position of the
Flats.
Fingering of a Scale or nine NotM.

LESSON XXIX.
4
"I

life s^zfe

izi

The
is

first

EP r
X

flat

**^
JET
f

always placed

F MAJOR.

<

^5r r J

fo-f-p"j-5

nB.

Si

|
The
is

^3S

BS /Jl
;

^f

:s:

Si ^Sgzc5Eg
-ritz*

--

first

flat

placed on B,

the second

the third on the fourth on


the the
fifth

sixth

on E, A, D, on G, on C,

Lento.

5&=

I^M BE
# P

and the seventh

(i)

S^f
-f>"Bij^

E-F&=fe^
xZ^jtzj:

nF.

r~~

j~

IS

fgSE^gg
fly
for

*
1

I"

Si

Exercise
after

-P.~r

passing
finger.

thumD
3d

the the

.f-ff

Ettt

C >-F"f~F~I

# "-F
:

r-r-P-

.,

Be

careful to

avoid any movement of the hand,

pSpaH
3

"r~i

*=35^

and do not raise the 3d finger until the thumb is


ready
its

"P"i
i i

P~
r~

m
-I

3
i

v
r

to

strike

note.

iEv1-i
4

? f?

3C

~iP~P~r~r
:

,r~a:

pff=

Observe

the

^
4

same
legard

rule to

with
the

thumb when the 3d finger follows


it.

^^^g
ffi
= 3=3H^i *~P~r~r= f ^-^i==I=i^ 'E *~*~3 3B31 E3jk3
::
i

ISE^
^
prfl Trrf
~C~T
j-^L. If^-Hitizj

Accent
Piano.

the

"O"

principal note.
Forte.

ifm

IS

r^i
1
1

in
Forte.

Piano.

533 r*=^=
F MAJOR.
.

1-

'--$-

18=5 v
:s?:
-<s>-

c;

S
V
1


TT
-<S>-

-<s>~

Allegretto,

4 |
l
I

X
r~ r~

4
1

~r _ V-Ml r I
"i

_X_

r
^
r

_X_
"

w~ n

-# P

# P

EiEiEIEEE:

'i

:zp:

WAI.TZ.

:r:

r s~c

be

-p"I

f=r-

EBE

3E
v&
%?T~ "l
1

S=S3

##
-h-

/
4

33 6E
TTT

4
2

E
p

(ff-# rr # r
~jg
i i

12

4
1

~r

r-

'"#'

US

SI r

"i

r
r

T"

&lp-y
~
;

9-

-g

E
Andante quasi
Allegretto.

E?3^ i

2#: :t
XfS>-

ttjfc -*-*
X?-

STUDY

^
:x#:

t~
2

*s> -,

XIII.,

m
E

-**=* ==i=iC
-iS~

PS

-***!"

-e
n

a=*:
1

of
*-

r"

T~


i;.
^

x*

i
I

"X"

T~~i

::?: xs>

:=SE :x:

4fc
azzs -DZZC

*-^FF

2
1

xs

14X4

100

ri

1 h
i

fyfff-

k +0
.

-I

(i)

Rallentando
n
Italian

(2)
,

Tempo Primo
4
I

which
tion

word implies a

4I>
I

gradual diminuof time and

tone.

-F

F-E

EFL=R^-==

(2)

Tempo Peimo
signifies,

in

the

first

or original

time.

LESSON XXX.
The
flats
first

two

* m -0: b\)

-f~ -0 -

##
"i

always placed on B and

are

-ff r tz JL
i i

-\

&SF
i

F-~
3

major.

iggegr^pd

0-^0 ^ t^^ X J r
i
i i

+-snrf

ul tzw

m
Zfll

rr

~y-p^

&^m
-^Td-JT
Z

rTTJ

J^-^
*

-x -, r ? ? FFF>f#"i

r
i

"i

"ff@:
fi i
i i i

e r r
1
i

FW=3

tzf:

* :' i r r
##
i

~i

"i :i

'

'i

&
1

3ZXZU

101

J7~"jzsz~a

?^a^
#?1
:r~cz
r
i
i

-*-a-3-

fflf^g
2

"2~3 2" 3

ssa ffi
*=& Tl
r-

Hi'
P
i

S-fr

a sfe JE!E?EE*
-p"2"

j-g-p-g Pi

^ffi^Bg CTT

Eg

3SE =s

-*-#

m m 1++

m a


i i i i

r
i i

^^m^ m
W
Allegro.,

3_
~i

~i

r
i

ffl=ffl;

BBE1

EffiE

izfz#:

IPp
1

^E=

It

P
"i

Us:

BE
5-

*=f-

re
i

^r
3*
~ci:e

;?E

"#~a
2

i"

'sr
l

&

_2_

SET

~f~ *~a~i

ESS

102

Allegro moderate.

STUDY

XIV.

(1) Abbreviation of the oc-

figure

8,

placed under a
note, signifies that the octave

below should be
added.

MM
X
1
I

3
~\

(2) When the fig-

T
"I

5=
i I
I

II

^~Pr*r-| T"

are 8 is placed orer the note, it


signifies that the

4X2

HI
'

***
J2L
I**

5^ -# *F 2EEEEE
*

14X3 X 3
1

4X2
:?!-
i
"i
i

r
i

r
i

"<r"

~^>

i
i
i

E5E

above octave should be added.

* f=E

'i

r~

-FF = ^

oa

7TT

3*3
"i

n^TT"n-r-f--T^-f

r
i

HWfcKfci
1
!

'

*rry$rT ^=*m f
"I

:^PCT=

g; ^

rf-f-^

z ^-f

P-

I
I

i f i
f-

F^^F

(1) Crescent*
signifies

a gradual increase of sound, from soft


to loud.

r-

'

~r r~r~r~r~

'

'

'

' '
i '

'

'

'

-|

~ --
r
'
'
'

<

*-

g-r: EEi p

s>-

*
^J.
24

f
Tg-

I=? E

mm
&
(2)

>*EtEEi r
~i

lS>-

X
"I
I

V Pf #
f

S'

#-*
1

Effl

r
(2)

Diminuendo.

Diminu

P
4B-

9-

p
/
v
l

endo signifies a gradual diminishing of sound

X 0'f- 4L

104

LESSON XXXI.
The first thre<s
flats

are placed

onB, E,and

ii^lSlls

P^te

g!ii3EBIEE

~ siri
1
l I

~1

J
s
1

r~~

~1
1

?5=ffiS

-F cZtt^-t-t-f^^f~i

23

&=# g-rf
a

000
2 3
2 3

^fJ^rai^^ 3*2
a
*

rii^feliiiSpHii

eft

S^
1

^^^
act
*~5

3^

105

*#

Andante.
4 3

J
1

a
!


~!
I

Aria.

i *

sw^rvj
3

f
g
1

S3 e^ Et
S

J
:?:

nt

-.Q -#-"f

U~

^3=f=p=fc -^-- r
I

1>SX
bf|--r-

(1)

EiLti

#a//.

(1)

&

4 I i T T T
"t
a2

T- 7
r

M-*
T
1

T
I

r
1

TT r

xix
1
1

abbreviation of the word

Rallentando

r^ r

D. C.

106

(1) Accent trongly the four beats of the measure.

" SKP1 pspfP


.?,

>

'

>

g^^^&S- >
s-

Trrrr~"i

STUDY XV.

(I)'/

i E=E

-r

f-

-F F-

g-fc

a
^^

S
i
:

ni--

i +22 " ^H
b
i

4'-

Ji

^5
i I

^ EE

at

F #2
;

Jfe

-*>

S5

q#

* * : 2 u-

~j>

S
^
-^-f".
"i

*
-J-

--

-g-

-j-

H y=F
r

,Efc=

:fc=:

-*

^ r~^-~
I
1

=CSF
X
3

r~;y r^-r

~ ZEZEI ~r
r~i

x 3 2 fiz? P qp-*feg:

iP

-(8-: Si-

H&

107

lg

tf

is

gg^-sf^^-fh- ft f} f 85 * i

fc^

S^m
dt=f

=^Sf=
-F

r p. .

P=F?

-4-

-#

*-#

B s *HS
'[

azt
^r

S3 L

F-

(i)

Dim.
Abbrevia'ioi of the won*
Dirrinuenao,

108

LESSON XXXII.
-f

The
four
flats

first

are placed on B, E, A, and D.

MAJOR.

J&^^Pg!

feZfcZ

f^ggE

^^^

+L0

2__

t t=s H ^

w^rn

^-r^:-:

PIP
brr~i
"l

_
1

'i

I 3**3

**

af

T-a

^
b
MAJOR.
2

T~r-\

-*

r r

*~P

8 ? ^"iS r r
i
i

j_-t.

ssfigS i
i

ISfe^ [EEI

^^

e
:S*^

-i

'

J^'

**Lj

==

^^^

100

frmr
IziL

m
r
_x.

et

5^
f r

E=MZ

ai

**=

^^fet. I s
rn

W 4iUP4^ ^^^
i

<

J J

f-^jg^
a
i

fe^ &'
-

4 2 m-mJ J J=? 9 m 4 'wzgrr

SS^= ^SffiS
i i

rip

j> j jy J j.* y

J.'.dJ.fdJ.* * "^r

S~ 7~t 3zrn rT pt J S3 b V JJ*J *-4

ffl3 Ij^S^p^g^^ ^g ^T-^i


9 3

jStj

3 3

-s>-

EXERCISE

SMJ
2 3 ZZaZZZZ

PREPARATORY TO THE iTUDY OF THE


TRIIX.

x
ZZZZZaZ
ZaaZaiZZ

Lento.
(1)

JSJffliXJa.J2S
-<s>-

ZmZuZZ
Take care to hold the seraibreves.

fit
3:

iP5 <F
2 3

2 3

faS5

^htfZTM g j

5ml"3"T3

-^

J"J1"3. * * zf-m * *
\

d~

I ^=F

2 _X_

is:

^r

g:
-fi?

V-*-JL*-

JL ^.1^ ?

(
b2

22:

g~

221

Aftegro moderate.

gR2 ^

i~-

IS

'

STUDY

XVI.

0)
Lxogiexo
;

^*
(1)

Leggiero.

^S

with lightness.

fes
^
s

fen e
f

U-h

>r&

=g

2
-it

SiS
g221
:-'

5=

BE

;=?=

g^
fe* L2

1 SF^FI
~i

I r
i

i-

^m^

y^
t

^ B
tr

#to$ rfrrTfc3TT3
-|

rrr

fewSS
-s* 1

-4

#-

Li

| JL

izzfez

^^ p

111
Fine.

TW-

j-j

*!*=fq
"i

m
**

^^
f

^g=?
i r

E^:

**#-

H f^f-* Sz&zqEEE S

^
83

D=
- F
-#-

-#-

-#-

ft

m
-fr

p -rP-m
"I

^
r

is!
fa

# - -

q*-

mz
-*-

^^
*F

*&

#---

dim.
:' **= fcxr^
.

v
i

ft.

~i

Si=i:

fl

r~r"

-i

P)
Change the
finger

on the same key,

&e!e^ g izzn I ^E
..q:g-____j:
U_.
4_

^
=E

without repeating

HF
'{

the note, supporting the hand by the 4th finger,

which must not be


raised
is
till

the

filled

key by the

1
(1)

thumb, without repeating the note.

siih

S
i P=t
D.C.

The same

rule

should be observ-

ed in changing from the thumb


to the 4th fingei.

Izfez

pufl
Moderate.

4X

X4

_*.X_

EXERCISE.

&w
X

?
"XT
~5X"
4

fc

X4.

3E

XT

"5X"

112
No. 6.
Andante.
-

MELODY FOR FOUR HANDS.


*.>

il

^F-p

.-Fr^

.Fr^

*JL

i^ri.
.f Hp-T

at h_

A.tf--F-*

-r

^S)

PRIMO.

STECOXDO.

8m.

/oco.

Fine.

a
zc
i I

g:

fc

arr

i
r
'

-#

zjzz^zzi:
=
I

^
m
I

Fine

=*

3
J
==t

3Z

r
F

1*1 fibt

FF
z:

-F-F-

:1

-F
4 3

^=FF=

^rF=?

8tw.

EXERCISE ON SYNCOPATION.

113

Practise this exercise with

Moderate

care, and give each note its


full

value.

"

'

-jjita -X ^r- ktT=^ -JH-* #_ ~yi r ^ tzrzm 1 T1 F=F> td r


.-fc.
-

r
r

-i

~r~i

~
f~

till
x
:

2
i

r-r'r"r'i

TTT

'

^rrr

^FF

*-

"i

* rif--t# rn

**

^-ff^ff^

114

TRILL.
Begin the
trill

with the principal note.

tF B
B,

is:

principal note of the

trill.

TRILL,
(In Italian, Trillo.)

Improperly called Cadence;

An

alternate

movement on two notes

in juxtaposition, indicated
r

hy

this sign:

Effect.

Lj-U U-U fe h^J-rfr^ =f=ill


'

1
it

trill is

either

minor or major, according to the mode in which

occurs.

Minor.

Major.

f=l

0-

SCTS3S3
trill,

m
considered as strictly proper.

There are several modes of terminating a

but only two

may be

ANCIENT TERMINATION.

^
MODERN TERMINATION.

*
All other modes of terminating the
performer.
trill

should be considered as having their source in the taste and pleasure of tha

EXAMPLES OF TRILLS MOST

IN USE.

115

e
*
TX~
-<p-

EmM &m
Ji
23

TRILL,

WITH SIMPLE TERMINATION.

TRILL,

WITHOUT TERMINATION.

fcft

m^&m
frvvw

a
IN THIRDS.
-fr

4
321

t:
Tn.

a
3

jt
321

DOUBLE TRILL

B
Ti
3

IN SIXTHS Ltll

^
3?:

--<s>=3
Txir.

EJzsaz:

3d

IJBLJ.J. 3?:

:
Tin
Tl!..

i
a

fi

BEH *

Hi n &

^a^

HSTTECT.

KXBRCISK OH THE
THILL,

Count four quaver* in a measure.


Xl 23
_fcL
tr.

fcS=

5
=r
23

3?_

see
xb

83
tr

"jrr

*-*H

i L
-4--W--

fSL.

#
r
iVTocfiilcaiion

ei

s>

s-

Si
S3
_tr_

"i

R=i=i fcB
Pfi Efc
23
1

_tr_

m
f

:=

^
a
mF

ft

*H

'

'

*
=3=F
-k4-n

frequent use.
i*_

Jx,

^arr;

V
X
1

3:

tr

I *=m
Bad.

t^fe^ ^ &
x

S3

Si: T2" *

"J>\
-*-

3~g
L

a:

3 335

3ie:

116

The

trill

may

also be used without termination.

Example.

'^z^^x^^^^-U-J:^. I

Always begin the

trill

with the principal note.

Principal note,

C.

?^s
Sometimes the
trill is

prepared by a grace note.

TPw

tr.

*
i

<s>-

#-

The

fingers

may be changed when

the

trill

is

continued through several measures.

Example.
_X_2._L

f^^^^^-rf ^^F=f^=^^frf-rfr^
r
trill

Begin the practice of the

slowly,

and increase the movement until

it

can be executed with rapidity.

To

facilitate the practice, it

should be divided into actual notes, and the time marked.

SBPI ^^^&=3^^^^i=f^^^&=p p=^^^5^


Note. When
of the
trill.

TEH

trill

be played with the principal not* accompanies a melody, the notes which form the melody should

EXERCISES.
*=&
Lento.

117

~JSL

fffe

-<s

-o^

*
f

5^*

Wi
-Gt-

r.

T~

!5"

^ii=

tf'V^^V/

if:

GL

m
:s?i

~#"

B r z^zz^ze 3=E:

fr-,

ESSB
1
-yS>-

-^'
T~

5e
ifefzi:

EE

3&QE

Allegro.

S
EFFECT.

Fp==

Iee

Qj

xfe=s

S
::

d=

F=

i
i

ggbrfzzEE

=2

:f3

f=3:

^:

Allegro.

tT'VW

gs

IS = ffiSffzaEB

3:
23

s
21

-H-

~SJT

:;:

Allegro.
-F-

__A-r ra 0i

~r:

21

n
A
3i

9t

A
2

^
XI

ntf

a. aa

cifi

tm

to j jdtiJtluttti
Xi
Xi

Bi

Andante.

-t
-Hr-4-

118

LESSON XXXIII.

The
flats

first

tiva

are placed

P^i^^^
*-f-fc
Db
MAJOR.

^M^ ^^
j

on B, E, A, D, and G.

iH6Si

^ ^Plk
X-

V _-

Jt'rr*

FF

SS
hir

ig3?

mx.

&
2
-

IT*"

5fe =*
[gar

&E.\
rt

&

Ss IP

^
ffi

s^P 3E
x

A
i
i

5?
x
Z

m
x ix
iff -

fez

^!_2

W^p

:a^
:

^e
"i

>: rr"r H j
r

rffft&r

^l

23ZI

iSJSJj

O)
Hold the note

ADAGIO.

C while executing the trill.


on

(2)

Doable Flat,

bb

A double

flat

preceding a note lowers it two semitones.

A double flat
B
is

the

same

u A natural.

bb*-

=S
EFFECT.

=3,=

pmm

119

Ben
.

marcato
-kr-

il

canto.
A__

_.

AT

*
I I

:fc

i:
'

STUDY

XVII.
Religioso.
I
I

"51^ Z3 -t zpz^zp 7:5^: I !><>'> x - -p- -#- - x - -i I

ozi
'
i

ITmW S w *0-0p ll Pp
i i

1
i

Andante.
Maestoso.

S-b-ir-ttizztz:zfczzz --F-tt-HS-E

*ttqfcfc gg,ff *-3- ---6


'

zzriL-Kztzc4=4z25z:srn^i^:pzpzM-"xr4=:
3

4
-J-

KgES
___

fl-4
fzcrai

S* -
4

-rr~r~r~-tx~i x~r~ p~w -$IT rzznziz

0000 ftff
I

-^

3
I i

***i

3 y f^
*
|

4 2

JL
- P p.x

IX

r !? r~~or iilirV
fr
r

r r

-|

x
3'
1

41

T7 >
V-,

^ &
p X#~#~
r
i

E:S T T
_

'ffrf -fZjZZ LLj

i " r
i

.2"iZOi" JC

~5T 4

JL
It:
1

l^jbyq^fc^ I^TfT?
I

JEz ^-p-pS&p- -m-pIX


I

La

IX

* m r (XI X
-I

3
II
I

5^
-^

*
> 3

-.
1

B
I I

- .0.

.i^:^jr-_fi?Lf:
fr
.
i

> ppy j t
i

fc r
'i

-A -00-

It-p IX
I

~i

ipzp
~r~
3

'.i

XZ x

"

~i

"i


I
.i

1*
i*
I
i

p-~P~-P"fp~^lf r ZZZZZZZ3* 1 Mir ~irr~~i r~

YJ0

3
*,

*l

&Hz--J-\

P^^-TtT ^-- =^==


1

R -;

1 l

EfEEEzEp =5^ F-=F


*l
"

2=^

-t

Vl j -*--

I^ZIZIZI^Z^ZJ

skj^gj^Ei

i-ta^^^zzizizzz :3zSz|zS= ESzTzTz^z =3=1= '


f f f f
3

-iEgzdzzTzJz^zzl

EEg^EJ^^Q s - :5:i>zjz:2= z::g


-##
-

s>-

-0i*-

'^S 'm m ~ r r
I

<5T

*
I
I

-0m--00:

EP_5ZZ=zzzi:

5:

Azi

-|

r
3

:r

-2~X~"T~X
3 3 3

f*
2
3

t8

Sr

f J? f - * -

x: 3

iUrJ
J

-- -- -p- -- --

fcift

=?== -0 00
-h-

r~\-~\

tt? 5 p p.tr
L

TT

~i

I *iuc T f
r

~&'

l-l-l
f
-

>"
I

f _J

If-

fr
I

E^ggE^EPEJ

00 0-

tt^^l --r

120

LESSON XXXIV.
*
- i
2

The
flats

first

six

are placed on B, E, A, D, fi, and .

P
MAJOR.

fe

:zx:

111}
312
2^

sr

-<s>-

swtijjjyflf
Lento.

^^^^^^^3ES3^
_
9.

2
9.

->/

-<S>

^^5
fc5 b
E-fr

^
3

'

bJ-J J-ft S
!

s *

r-

-J x

2*2

l
.

S^^

&

jJlAfaffraf =t=ci P mi ig?f2*agroE=3B; S^^hU -i ^sI

^gfilgg
fSfessfe gj^j^P]
*s&==?@
Allegretto.

4
,1

4 ii
1

Z = z=dzq-Szzfz&M=^^==

55^ P
fj

^
3

-1=

:ei3zs

+-3

:c:

a^
^ P
Pi CP
4

#^

p^

&G&EI*

^
m
S

^i
X
:

i=_1_ #

5
-g

f-

slif
X

"T

EEcpB

-ZB

CCT

P
ffi

i:t

tP
:j2

m
X

3*
IC3

tt=

ff^L ffij^
3?

I=C:

iz

3d S & 4
3E

=M=E
X
1

3s i

~2~i

r 3da

^piibpii

x Jjft

3Zt

riz

121

w
m

SP^3 a J
X

s:

im
1
.

LX *
:g

^^
x

^4
i

3S*
Allegro.

igs g
'~
l
I

-r

zf^Ezz"
r

55Mz3E:^-ME
STUDY
XVIII.

1<1 -^ite^^zzt? n~ r h
~
r

'**!

gtf
i

Same fingering for

loth hands

g^
fi

f*.

Pi.

MA

'^

ggE^ B^ijsi; ^ijii^j-gLjiji^ij


it
>.

illlgi yHM-f4^

=fc

fZBZzI

f ip

*t" -b?_ r
zmzzcszzljzzznu

flHf-^f-^
r>

ifcAfcJE L IU

JL 3_ 1 ^-4*=^

*-

ft-.

pg

jS

ft

[V-

ft

ft

fe^zzzi^ii^ _=]_ffcziz

3z2zdz*zhi?zz4Z

33
fcs

I^Z^jZ^z^

f t T

s t~h:

_f _f

Tj*Z1

^=5^=iB.

5*

tfc

3=3=3=3-

faiwte
X - X
4
2

-H

? 1 *

~*-sra~srd~si r" ~~~T*|~si 1 J 1 zszzizJzDzJzzzgz 4 * ? 2 5 f "f ? 1 X X X


#.

^-sjn~g g J" 23Jg: izzizszzd? jizzcjnczi: ^3^1^J 1 fz352:


a
)

3 *!;g:to*

i.

=^~-i~T jz~rd~si
u-

r"*i

*
i "

x
-f--j

*r-~

"

-f"Bf
kg

a
X
4

a
1

ra

b
X
4

a
1

*
1

' I

rn~~gzn: * znL?

<^

r"

fcfe
i"
"I

(-T

irfzpzgip:

l_t

X
4

T
4 ~~cr~j~gi X
2

X
4

^
' ; )

e X x

H
x i

_
*_Jt.
X x __-f-__#_ b

xxxX

i_*
X

_Mf-i

^-i

-_._

x^
=^
:

X
.

? x

:5

E^3

_f jf _f
^=^:

r^-f~ 1P~^1 n&i f i tZ. -a a"


:ft
1

1
in ft ^-r ~i i ZZZZ?ZZ-JZZT1 mr^\ |v *l l"-i _a_5la _ ci=z)=^zjlzDzg: \p3pzm~ ^!LJ-Ljp-j=gi :
..

|fc

r
I

I
J

^
.

x - X X x

1
J

_^

<^f g~jg~ -i-XLzzzzzizn:


.
i

F--8
.

3: ^S^z^E^Mz: ^ g 9 a EBlPz5zz3= a a
-^
-Ljj
e'2

-Fz:^

E35pE :==^53^3I :E3-zz^Ezztzz]i^E a -P a a g


0)
ill This sign,
lq J->,

annuls the double

fla

122

it. II.

(i)

Accent
he

lightly

Moderato.

four beats of the measure,

uid connect
gether
the

to-

12

jotes composing

he measure, as

4 they were
tcuted

exthe

by

vme hand.

CD

Dj

LESSON XXXV. 4
P-m.

The first seven


flats

are placed

on B, E, A, D, G, C, and F.

SE^

t*

T3T-

*=

N^te^ imi^
55^ -J7-9X
EE3E?Ep f
*5
eg

yppft rrr

rn*rrrFr-trri rrri rrri rrrr

^wg
rrffr>
X~~~KL
3

-fffP
r
i

rri

>"M'T
g

iS

Z
:s:zdb:r~LJ te -F
'

i'

Andante.

EXERCISE IN CHANGING FINGERS ON THE SAME KEY.

assgggEBgff Eg fz
Articulate with the wrist,

"3"2TX"

and avoid

the action

of the nails.

-E-

*** e
''

t5

g~

-X#-*-

3W:

8fla.-vwx.

/oco.

B^r rrf

* 1

h
1
s

i M I 3S apyy^zz^qpffffjE^
rJOE
-&&

1-

3^2Ezz3^f=E3=

4 &5 iK*

=F

* 1
8t>a.

321X3 rrrr *f f pff-ffff-ffff-^-t-i TTTT-r-^r

/oco.

-1-

-0-

V24
Allegretto quasi Andante.

ggg
STUDY
XIX.

::

-0-0-

1-^-12~T~X"

:
X

!!

2~T
X

S -

fzzzzzrzz^

X~

X
-" -f-

fe^
SSS3 2
i

ZZT~T~'g

P^E^

1-^H^-1

03 ^f^^HrSja:
i i i

znzzi

r-x

E=be==H3 -S-*-X-

n-i-1^

o :ze:"

IX

nzr

A#A T
1

u-fc-jj

fe inriuJH.1.1 $3zzz3 zg
ezb:

^:

xzizszgzrz

^H-FI

:MfzS
-t-e-i-

Lzta:zz2zrzxrjz:z
-F-

HZT

?=i _

1-11

2"T X"

^-^ g
"2~r x~
-

-F=^=}
X X

m
i

ZE ?:

X
x

^^~S

zzzszzi i *-*r r

-r-

ii

.i__L_L_:
'

HE

3zxezz1

II jzlzrJzzrxiizj

izs y
i

r~5~r

i*

nr

J JJ

'

:Ezzr

Si
vt
i

rzi
r

4
i^fzfz'zzzzzzzz-EZziE
nzizczki ZZZZZ z3zr:

s
|!-1-.

13

' i '

"E

3ztzxzzt *-*-x
"i

fe r P-

rill;xzrzxigzxzc u
3
*>

r*

"'

t!

J_.

Fine. -ft*

!>

itr

f
#-

ip

3.

i*

DIE

^Mi

V "^

5 SzSI =S5 iB5E.zz!zzzE^3 1 4


:

Sl f
-p-

X~

s *fc33EEEEpd * FFi
_

P=|P
X
4

125

5&
-0-0-0'
2 1

S
F
X

=H

g - J=

^- - ;5g :x
=

5
i
i

Cl

~r~r

:&=3:=3:

2-

gg fc^BBS
X
4

~h:

IE
i

g&i d^fcEEES
X
4

a_a" -F-3i
i

F? fff^
X
4

^n r~gj~M
X

r
:.
i

fcj

:3-3: IEZn=

-in rr ^-T _
"x~4 >r

"i

isztzas g"_+tzns3z3: nzzzr


4

SEBE
X
4

r~
i
r

3EE5S
~0~

5
X

z
i

i
i

yi
:

Tszzn

4^*

-J

^E^^E^
"2^J

8 ^#1

~l

:*=H -H3-+-XI'

z:

s^fe
.
i

DZIE

fff
/
T~0
r^
:g-=r*i;

TT
~-

3:

^|b*he 3=7

s
"

S0^3. ~r~r
4

i~P
r~r

*>

"^TP

x^Ssi

:nnr

~i5a

*>l

iszizs;

azDizizbzzn:

3ZIZ3I

rAi^Jrfczi

L^33fEEE3=d

g~r
szEziztzz:zi_pt+zgL
1

rr E IWT0-0-V"i
i

~i

in

^=i-i-

n rr r_
i

^Se=S1
T"

y^=?i

X
Crescendo.

^Kt

XZE
9-

<

&

*;

Jfc

igE 14
1

^
*
I

t
:

b^

** t :

i=S
/
ztszz:

i r

S=S

X.1
f

#:

XT".

xf
1

t"i~t~<~^

:_crT
i?a//.

H^P

Dim.

#
f2

1<S>-

AC.

LESSON XXXVI.
TWD MINOR. zjiw>Bfi%*-

^^^
^-r^fgE
-f 0-

~es~

E^jgE^Ejg
+2
Allegro.

SbEp^p^^
i
1
1

r^zzc

:#=:j=:c=j:

* f

#~

vp

"",

"
I I I

STT
X

TT3 2

ilffi SEUJj^i
<
,

2
2

a
I
i I
i i
i

^-F=^
-&
*X

'

T T
i
i
i
i

i
i

''''

rr^ri

rtn n '' ''


1~-

gim

r-

T~t~T rr~i
i
i i

L r

3=5

5fcmLento.

TO X
2
1

-e---

S
_2JLX
:

3*X
2 1

ebe*
2 1

Met X
2
1

~m 2TTX"
2
1

3#
2
1

X
2 1

wvxr
2
1

gccz

ffi

m S
2
1

X
'-0-

?.

*EE

5=f^=^
2 1

X
2
1

s=^ J J #1
2
1

X
r
"i

^
1

^
r~i
I

= H SIX
.2_J_K-

X
r

g^:

"i

'-f^f 1
i

^
x
X
i

^
2 1

=tfc=:

2_L_X_

fcfct

isrizx:

f
4
3

4
3

^
3

tsp

i~l r-r ~i r~
i

~
J

~i

r~ r~
i

r~r 1
1

-Gh~-

ffi3
1 1

^M
-fh-K-9-

1
~

tint r
i

=**
1 i

]giJBpL--(L-

r EEtEtEt S; fj-iH
i l

*&
1

E^^&: EgP^

127
4 a 4 a 4

T~~r1 rr*T![
4

x f?

#. 4 *JL 3-^-

i.

lJ

ft a f J

I sfe&Sft
2
-j-2

X4

-p- 3 -r

.f<

T"fa

err L ff^r
:

ffrJ T-

H^ ff

-|-

^
-#-

4
2

-2

~Pf-x-

in

pKM
,

u2
-S>-

rt TTT

Iffl
-5-

-Gh

ZE5& *&
t:

-&

-&-

&-

e 22:
;

-s^l

X - X

p Xgtil

-<s-

S5F
x
i

-s^ ;
X
*

-s>-

==
x X
r

3ST
< i x X # >

E e-f

^S
4

if-Pfi2

Bf

-i

^ff r
"i

*Jtfj -j-rr-rrfrm
F=653=P

Allegro Moderate.

STUDY XX.

JFa/te

Movement

i=

5.

:-*=[_-,-

H^

*
P=FP*P

FFfcEWE zzn y-H^+ r j\ iL r


,

^xq^ f _ #
i
II,
i I
I I

,,U
:j

fX xf
'
i

fx *l -4-r 1
"I
l

f^P-

T*T fe3*EZ^j-

_ T HJ_X_2
~i
I i i

*> #
I

Si

f=:

*c
i

rf r r
"i

g sznza g!>

-*&

LESSON XXXVII.

MlJiOU.

E^^^

^^ai
#y-

f-*rft

B=^^SpM^p
X
-f:

~2?~

^ ~-XT*-*-*

--

Allegro.

J 1_?

1^

9_J

21

2
3

21
(i)

129

if*
s&-=e
:

*-r~\T&*-yp-f

~ Wm C:t

ezrzgz

Ftft

0)

r
'

p^s
1

r:*:

*t :sa=c=f
2

r-f
1_2
r

This

pa .y\pe

j %zz
fe

Szhe S5 ^E^EE&i#P'iBPr^ 13

12 12 12

should always be executed with

wrtiiu^iifi^

Ln JCd
i

two
2d,

fingers, viz
in

with the 1st and

ascending,

and the 2d and


1st, in

descend-

ing, for the right

hand, accenting the first of the

two notes

to give

effect to the slur.

(2)

Divide

the

notes by two and two, accenting strongly each first


note.

bLEE

:*t =i

m
.0.

**

m
-i-

3EHE*:
-0-: ng
-

^E5ES E -1 nzcrus: i-e-*


B-4
2c.

*-

rzr L
i

zarr: 0-*-

#.

J^ll.

ZP1_<L " r
"I

i>

:czzr

t
I

$:sr.

PzBt r ?=SE?
i
I

5-

-ZTjZTrZZLL

Nr1]J7i)i^ f# r JinEfr r?:r cr i~t h J'


_
i

t:
1*:
tee:

r'l

J
'E

i_

zzr^P

HE
"or

"i
r

:fct

TT

zc:

a"
1

'i

~o~a

ii

TO
n{

f*

:b:

"i

Z0~*~ r

tt

E a_E_

verb

S3

M r PfT fizrS>4 3
li-

nt

? Jj

j3~r~n1""*
J-J

CZf

g2

3 e

SE 2^

=t

RA1.L..

130
Allegro Moderate.

^^^ rB2
STUDY
XXI.

21 't-a

81

^^pj!
X 32

"
1

21

-4rU-

zjEE^E

g^^=r=pz
:fe_*

^
3

=^

3EEE

2
t

"*""^

^^~""^-

_*.

*_

^-t^=p=
2
1

*2
4>

h-

s=4==S

tS-

131

S=*

-JS:

fes

#2:

f^t

i.

Ifff ft m

l**v#i
-(~

'*

!:

*#

:b=^z
X
!

-M--f-

i=l=H=!

Se^s

X
J

fff--fr
i
i

=^^

==^

^~^E^=i
i

=m=^ESsE?EL^ 5^t

W-*-'=-!?3=|-1:T ^
:

2
f

^3
I

> 4
i I

3
t

182

LESSON XXXVIII.

MINOR.

i5 BE

=pp^?N^

&t
o MINOR.

^HSfeSi
rj^L^pz^

f^

5fft*
2

S=f

s^^^^S^efeaa
Moderato. LEGATO,
(i) Be careful to lur all the notes,

sfr

exercise
IS
*

and

play them with the great& ,. est equality, so as to render the changing of the

ARPEGGIO
chords.

hand impe\>eptible.

^^pE

r
133

:fc=

W'

-sF

P^
3b#

r~l

-x^-r-

=*

* StES
a
S

m w&* ^ W
:xz

w ^mm w m
2
-e-

-&*?-

=e

+-*-*

'-^m

r
j__

is,

9Ei=PE

a-

4wi-P,

E
4

ip^
^
-KH'~LTr
-*-gfn

^ ^fi==^
4

i^
IXII

,=**

^^p
h-y-

^&
2

^
2

x
m

2*

fe

;^
fc x
---,
Sqfcf

:*z

se

K2p_
x

.!

i BE=P

W W
o-i-f

-tt-p-r 4*

EEEE

x 9-1 b4 : ~Sf

Et

^
"" 1

hit
x

Sr
-m.

11
fct
(

*4

!P
--

jOEx
x

s -^*
:*# TT

^^
;

^zSr

rzizpzrizzzzizzzi-zarp:

-X._

3Z#ZC

i~j:

Eta-^c
h2

i*-ff

wsm

"5"

is:

:*z#z

134
2 2 2

o motor.

m io3=S5#-#
i

-2-3

daE& ff^S
-r-rr

-44

>r I3Z3:

Tzrzrzr

r nr-t

I2ZI

Moderate.
-tr

-XX-

e-

*^r *
STUDY
XXII.
Articvlate vrith the

3 33 3
tctist.

#--#LX 11
X X

**3

E^H3

f-r-

i>

SEfeEEE s
1

-.

H*~

# f f

>~

-x

-yyf a-lii i~x xirx:


ZM

x J x- o

o n o

XX
::
I

XX

t j

^
t<Mi

xn

EE#frjg^=p

EI ^EE r

S3 T
8

5-j^P

135

4
i

4
3

5&= '*'
/

ftp, fffirlfj till


x x

SSF^s?

A ir if pfJ J^T^TFf

s r:b

4==

.g_rzzEzxztijz^ixZjcf=x=xi#-f

riT^H

'

r-p-rm-r-j

i
i

*^jEm5?%^ d
t

4 4

3
'

Rail.

'

'

r~i r
i
i

3=

jririz
2 2

35
i

z=

w=F

-%-

=
^:

136

LESSON XXXIX.
Z&&
i
-

fi^Bm.

m-

9 MINOR.

W.H 6

,-tA
i

^ESEE^EE^E^

*&*%rsm
2
1

"ST

fe
EXKROISK.
a
o

Jacfit

h*~#- 1 Sft

~T~1

~3 3
I

i~njZEr~ M-i

,
-*-

r-r-p-mkz[ r^i

^-i~gEMEZ^lVZifz4z^ 2 3 T a a a

rs:

"5i:

~c

>

r~ q r~!

r~y~i
t:~
l I

r
T*

ff

^P=Sii5
-a

# J-4

2S

S-t-3

&
te= a

-XL

'-^^eW^fW'
a

=J-i

^f=*=?^*

g=F S
i

SEJ
3

f
jse

HP
EXERCISE.

IS 3
3^

=^:
-gjr-j-

5 S3E

231

SliiSlg
sS
3
.

*32
*

137

^ftf-ftf-^ s ^^
i i

jJtaSf

X3

ftff

-f-bJ

lij

ja.

B
1

r~ ~ r~i rf-* r~r' m


r-i
~
i

"^^r

E
X
x

rEfeSEiES &i=&=
X X

X T,

to:
4

Andante.

~3~
~fkE

^r-=gffi~te

3H

-sj^^

m r~
t

A'

B
STUDY

ycs=

^r
Andante.

S^S

3E
-H-

^
1

i~

55BE

*fe

^
t

^-=5=

p5EE3i!

rtrg
XXIII.

ff-?13

rr

rn-i

TTT'r-g;

_ JT7T1

TTT
I

rr

rr rr
:izz
'-?. Et'^-r ==E&

m 0f~

0fT

fil

feil^ 5c
14
3

m.
14
~g~ f~i
i
i
i

*
rs?;.

jbe

is
X
4
3

14

3
jg~

14
r

14
"i
i

"3c

:zczr

t3E rr
I
I

^^=
1

r-

?i3
SZ

h*
!

&i *te

Ippl
i2

5S

ri

e r r

C A

SI

r_zrH^"~rnz2

i-r

138

j-r-

3:

m^^g^a
~i

*"*-f?

1&-

^ ^ g^ag^^p^^^^g,^
ffi
/
t,^c

tf
r

B=gpS
:g:

**
-*-

~$=*

b-R

p^^iEi!
i

-m

.trrt'j sg

g^-E^Egfe^czns:

*F

m? e
3:
=

*
^fcz^te

^^fete n
M-

F=-

i^
ft^s-fr

i^ezrzize

i >
Cf
&+
"i

f- *

r-#-Jhwrrj
p-i

^3
'$#-

3-

;->-^-

ife-=,iS
=aq*
@L

SEiz^i
i

feed?:

z=E==n

izzlifczd

139

14

3
-F-

14

14
y~! T~l

faTT-n^

r~p ec
I I

S EEES
3
3

14

14

X
~

X
f

3 3
;
~i

BJ
ji

E
I

fr.m n
1

rr

fsi^SSa s *3

J=^FF
^-J

.T

3^

f^

LESSON

XL.

SEgS3
Bb
M1KOR.

3=J

S3*

ffWP*^
1

,^s^S

..

I l* # b-_L^
.

Andante

a 5^2
r

-&

F
t

w.

iEEEj
f#I !

i Pf f ff ft

'I

'i

lit

gSgflte

Moderate.

*-#-b_Lr,_.s..^

vLvlKai_

rnt
X-S-

53_i

f-f-t-pZ-ZTZZ
g
w r~**i.r
i i

#-#
fad:
1

,
i

^i m...\r ~~c-

'

~zri:

STUDY XXIV.

^^

^:1ek:3==P==

1 --

ur*
?

pn^"
^r-4#-

P"

Ef
^|

*
w

E
T

iizzziS:

rzzde:

3=ini
3g ^r
-?-x
Fine.

i*S2^3= ^ ^r ^ ~^
gi-^g__i q r^ ze
1

P rz3_tz

z_z=EzzE pzz ^ h m ^ _q

5$f

JJ
-is-

=c

J^E:E^zzz^==z:E
o#-

141

-^
t

4
j_<"

~i_ __

EEJ=E^Ep

4
3

^^?q?

:x

J*4-

x-

L.3

zsa:

5g F> ^
fc

"
4

V I" 4
=

fe
r~

3_

Jjk. A
1

u3
1

Z*zrj*z?iZM^r

r tr*

a'

ze~

^ |^
-5

zfcztanz^ia:

H f^ff:

a-
2

&

3ZT

ST ^*

KH^^
x
-$*rf*.

3zJi5i33^^zje3:

:gfcz: = :*irr
i

5g3 q*

5
Ha
fl-a-fe E)!

-I

^s
X a x

d&iF^ s ^SlU
1
3
x
l

rtx!! -T-g

0 a # <m ti
'

Ei j 9
i;

. .

#^ a
:
i

_0

Wxv
5-

-H*-

fc=*

'

p
P

rr-

fl__
x

3
:=i=f!zzr=

i r

_r
I

T-P=T
f

& *F

^EzE^EEIEEjf

TFT
3E
T* =
4

H rJ

=>

*
4

,_F

tt

SCAL

S-*f-T- '~

^^
J
ca -

--/bri~?r 2*= -im~- -^w^-8g


!

^-p^
r^
^-^

i,

--F -r -^= -

al
Jj

^
^^

1.1

* g

"^ ^^
flr

^ ^
fa

H g T
S"

j,

ri

^1
,

if ff ff
/^^

%-

-i#--P-

^f---

,.ff
x

gff n
---0-

mis

sd

i^- jg-H-g

j "^*\

X
2

-^ r n :^= ^^^^^g^g-^F-j^i >3 ^ ^r fj *


*v
-^
:

-i> ^^ #

v ^

^-

ftt

Lento.

143

LEGATO.

i_# f"W

-&-&-*

Z~\

ggEjipi^gEpi
# I

tttf

Wtl -**\%

MAJOR.

?"?**-

--e :

Ei;Ei_=:

MINOR.

^-jU^F'JTO

i
i

G MAJOR.

E MINOR.

144

D MAJOR.

i^a

3 -#-5---

JIIKOR.
2
1

2 1

I-

2*2

-*

A MAJOR.

4_fjJ 43
P MINOR.

.**

Efafci

V^J

V?fi AWT {if f


B MAJOR.

it Ei^
i

C MINOR.

X^,

-0-

-*-

^S-- -r?*-l-^p E13EEwSzF- E8

J^SS^JZ

u_ZSt__2

-<s>-

_zB?J3_f_S=fc?

q=_f _d IH=Hfe
-X

5
4^3^

m
I**" -

-^^

<&<- ^?-9S-v--

>

4.

3
1

X-

4
2
,

14.5

iff

-F-r-hS-

cff-

^^"w^

Ab MINOR,

e[)

MAJOR, orF#.

**Z~v
2

"

5_#

7ll Su*
*,"^rr
i

r^i

2 A *z5 _#

4 f*!*w_ sri^"^ r*s^z~z

F MINOR.

Il

m
i

*
,

n'NS^-^ r~ S-* -i-3 !-*-


--*-? Ml

2 _

s,

8-4 -it- v^""^S Lc -~r*3#

k2

146

Kb MAJOR.

O MINOR.

lb MAJOR.

size MINOK.
2<

&$Wr3&
XITZg-

Uitlf^ rfftl
1
1

J*X

I 4

d 4

43|X
i i.i

^^^.T

F MAJOR.
r2"-~5j-

Hi SWEgjg
2
1

s if-T

riFFI
~i

t- r

r^

<s>--

-jzz"~g~S~ an*

=1

a*gy

fro
D MINOR.

.T af

'fla^ =^ g- f**f

nT$

,.

sr

EXERCISES
0)
4

IN

THE CHROMATIC SCALES,

M7

WITH DOUBLE NOTES.


4-

LEGATO.

^^^Siffl
v
2
i

5ES ,^-s^-:WF-i^=p^-f
4
3

4 X_

(5

4433
x
2 U3

This ia (1) the only method


of

'

j ---

which the
matic
thirds

fingering by chroscale
in

can

be

played smoothly, but it must only to be applied

movements Mod-

~ r

Andante^ Adagio, &c., otc.


erato,

Aq **fyt:tlM-V&

15

*
'i

x 6

r~

WW: r~

i
x
3

WS^-i
X
4
?
1

X
1"

2,^,2

_
""I

Xa

MB
x
2
i

x* T
4
2

61

x*f --

Allegro vivace.
2
v

3
1

yo

H
3
:

42321
2

x
J

*
1

i~

*
(2)

This mode ot
fingering
is

the

only one applica-

Legato. (2)
1

-a x s
*M *i_fL*
1
1

x
h"

X
2

ble in

movements
Vivace,

Allegro
Presto.

-h'

~p

P"
2 3^3 t*T?T 3^
4

r*

u,
"I

" a

ui X
51"

T~

_X

{
<

X
-**-

W^
_1
1
3 2
4__

3=fe

TTT.l
(
Allegro Moderato.
1

P~P~2

3
4
4
1

"I

r ff-

:#^tfs

X
2 I
1

3
1

4
1

m m-^-^:E; |:^jj Wp^Sty


X

.2-

343 1111 X X X 1111

=3^

*?

Fffl-*HHg

_.J>
7.

> -*
2

-i

rnr
x x
I
3 1 3

S*
r 4
x
4
2

x x
4

x
2

148

Moderate.

ffl fr it l fc
4

TiT N
i

t~ttt
r

finrrT^

V--2-!

3FC

-# ^r #
i*L
"i

r-ffcc

^
n
X
3

'

'

F
X

#*

4ittt**j* E
a,

5/\ =1

^
**#-:
x
3
:

tfi-b;

Lfcyv ^
x
2

=^

******
"XV

X
3

X
4

Allegro Moderate.

x=03^S*St 5 #-=pf-^ ===== fr x


:

5=
=

pn-;r-r-i J
X
1

t
4
,

-i t
*

-el"23"

.
1 ,

g
1

Fit T f f tU MM f *-*.
j

:^sa_t_

Moderate.

)"4
*2

3:
X o
1 3

X *
2
ll

-r-WI

^^^^^l^^i^^^^l
3

X
2

-4=
(i)

-9 frf****
[ I

2 Fingering of the chromatic


scale in octaves
for

r^x~ 2
2

Km Jt=l
Sva.

AM.
=Mf*

**

movements Moderate, An-

dante, Adagio,

&c., &c.

^-f^
move-

In rapid

ments, the 4th finger may be used on all the


notes,
for larly staccato.

ill

'

particuthe

~r~ r

f -^P

fife

L r

ll b P~
i

^H^

-hJ-

-w-

Ji-ttM-

r if "f

z#fc*p

^=f^^^=3rlj^r^
I


I
I

^1

EXERCISES IN THIRDS, FOR BOTH HANDS.


2
Repeat
each, exercise

149

twenty timet.

Lento.

m mm^
:

jb-l.il :<
~r~
1

:r=r-I

~i

r-

-p~Z -m-

r r

r
~r

^
-
i

Si
q

r"

S s *^N *3=S
:

j T

H444 I^TJFH

H
,

ES

-p a- -pa p^
.
r
r r

r
r

^
:

~~

^:
T

*
X X

~~

f g t p P-

m*
1
i

-X_X_X
i i

12

p-J -* p x
i

zjS3=S^S=3
-f-g-l 2 S_z#z S
r

Zj

L~j

L
1

j J

J
,1

X
2

w-e-s-w-P-p P-r r--^

l-g-j-f
"i
i

T--r-.i

rrr^

3 2
1

X X

14 3

P^^fc^gq
. |

x_

S^s
-p-

*
x

<o

x
a
1

-J-p-

p~rn

1-

f p r r

a
i

lai

4
3
1

' ^fffi
2

;z,

rj-i-p-ff-p-ffrp zmzSr p~P"g~P~i

. P~S' -*-

QFBEQga!fi * 3 j X
1

^^

,P^

r til i^i
P

r t

S.T'S.'r'S.n

gjpp*

\>0
X
2

4
3

3
1

4
3

3
1

czJpptzfflH

L"Wf3..T3?3 g3
:##if

W^m
a
X
2

X
2

w^z^^zfJL
X
--

y IBS
1
2
1

_ ff-ai

S
#*2

E4~P4-P4
1

4
2

"i

ri~J~~*T~
::zg!i:=:f:zg!fzil

4
2

4 2
"i

4
2
i

**-

5=33*3
!Mr*n
,* -r

eB
14

JiTVJIJ
:#S:

-1

ss
pf)
{

-* c -*--

g jg fMPmllMffl
n

y-;F~i

T^*~l

* J* Mzpd it P***
14

p*

!t *)
/UBi-ffHef

14

14

X2
1

uj

cs~9ZmZ9izs~0

1
r
i

X2

X2

H_HH___H___

\/

14 Q

jp&Z--*
fa r f Fi rrr r^
l~ p~r bpj

i"

^p

f^SN
X
2 X 1 14

4 4 4 4
3
2 3

_
i

~ 44* fe szn
i I I

3
1
'

XT"

~r

J'

'

'

^ P5
l

_l

izsz~z

-S-i

-U-IU-

X x x x

_3_3

iEfcEEEIEH

Allegro.

=3gnzdfe 1
I

zq::

isza: S

EjE

rf
r;

r-

#1

m
r

^S * 1 #-=S

S
,-- -0-m-0-&~* i-#-S-#-

i&*&t9***9
i

r^-t-m-t-w-W-m-f-m-W-m-

Eff

m~

fl

;i ~i

:^ms*.
i

r r

'i

=fSEzrzf
r

151

wm^wsmm^i iSii^ip
i

r
i

r~

I ; |

M
i

I
|

JTT

Allegro.

3-3

JSl
fES:
"i

js
=T
r

FT

PPi
ies^ee

-pF
2

S-*

3EK

F^

jb3.

n
i-

-rfi-y

=^3

is*
'9-mZWZEZ
"I

J J d

ft*

mf-02z ^ w~r~i r
i

**
:

-5 --

333

itt

*&
"i
i

***

-^

s
rs-

fcfiF

:&:=:

i^lH-is

w&

-t

J=5

m
ZSI5I --S-
i

ti

-F-

#-

%^L r
1

13 I
izsx: -3

S
i
r

It*-*-

P =C^
i

-5-
r

Sis
:

P~i

i ,

!*~

taig

-tts*

p P3

^f
2

Trl

EXKRCISE

9BS
-8-

Allegro.

~w
R.H.

FOR
CHANGING

f^Pp:
I

irfjefcE

THE
HANDS.
.

Ik H.

J
1

0M-0 M* -:s:^i ---

-8

Pt-f-h-ri "

SSSSS

-E

rrrrr
^ 4

+
-8-

2L
I

g^Sz:Ttf-#:fzi

^ -&
i

^rr
i
I

TTTTT
r~r

^
1

"tea
I

3-:

^
1
"S"*r

-a-

<k&&&&&. -S-w ^i:_a

[J-

ar

=E

Efc^
I

*
"is;:

152
Allegro.

2
Hi

5
-93

IEI

~9~

22
?=5=s _^

v X
I

2
a

X
1

r
m
-m- -mr

am *m *

1
i

X
2

IS

-I

1 E=t

-- -- -fi

T"

3
1

r~*-a P-f-g-p
"I

~rv

aa9BS5^SiTi
err

a:
X
2

X
1

3 1

X
1

X
1

X
1

i^E=E,

~W W

WW

tiztr&Zt
^mmmt^mt__^.

"3"

hr-<

11*1

II

-g-sr
i

1 a -2-#-r#-a-#--* r -j-g ^--^-li^H8-Pi?-f?-i> pr "1 Ez -*-p----i

x-a

"i

v
,

S-2-S-f-#-f-#-*--*-

^-*-g -*-*-F-Pm=
2
-0"i

-F-

+T+=FFFF-Fi'-H
3 * m * m * m
"i
1

x
''-

m
1

--

m -0~-'-~%- +---

rrrfg i
r

^l^^j-fggg
Allegro.
2

M
.

-_ # _M.
'
1

' 1

(ZZJl
-a---a --S--- J-4-j-- J- -J- J

\- a

K
i
1

_x

4
2

33S J^^j^g^pply
1

x
2
1

~i

"ti-s^

r~r

113
Articulate with the wrist,

and avoid any stiffness of


~3~

the

hand.

U3 53J2UJ H~5
r F^R _*r*r*r:

jz
Moderate.

F#

* 3 #

'

* : S"S^j*~P'l* * n-r-rrg -* :-* !*"*:


:|

"

2 4 4 4 X2 2 2
I
|

X
_

2 4 2

EXERCISE IN

DOUBLE NOTES OF DIFFERENT


INTERVALS.
:

0-0-0-d 'm 0 0-0-0-0 "

'-#i^-3-"5:

3 ::i#^-i-#c 9
xi
:

3a
-

#
2

X
4

XXX
-

222 4-000-

p004

't7~iT~r"i

rrn

r rT~i

i i ,

Moderate

-j

^i wi
|

<~M~M
1

54

|
I..

rh
H.

3A

BMSf :S

ftfe

s s

= j

**
SEE
2

2
I

.151. x

3
g
i i

fa

=?EpE^I
Presto.

^r

^
la

agEzg

]^Ep3^^^Pg
I a

i
3

-4

)E

I
-

ifezz^zzzfczzzfcz'
*

I
fc

lazzjizzrr

B-=?
ft

3p

* 33E* n 2
j^~~
fr

5*
SEZS

^j

=i

a pzzazzf *tfzSzzazi!* 4=^3\ 1^ 1 gZ^ZZj^^ZZ^ZZI

2
si

wrsr ^hM~xr-T^-xy--sr*~f~~~* ^Sg". j^aZSHZ -:rJ-aZgZgzffzgZPZaZ 1*~c'~F" 5i~S~gi~l~ gi~a~ M~n^r^'^f">~M" t

H g H t H P H S-az^szfezazSzazl: " 5 5

f m zipzzzgzzzSzzzz~zzzzszzz:zz:szz
?
:
-

xi

<r^

6*

)^

wi

p r^ e p

*i

^
g_

:zz

a^zzgZ2z^"~z
IT

-J

EEz

^
^

_X_
ZJ

_L_

_^

gf

r^zzzzzzzs
i a

3zzz^ZZZaZ~t"W; -Jr^z3zzz*izzzaz#zzz5zzrizzza~5T~T
* *
2 r
i i

^r 3
3

zz^llzzq^zybzqi^^zgzqrg
_ziz4ll
zzz^zz
"ZZ

jirff"! gz^-:

_z#~zS
"i
i

JL__

P >
I

$=

I9ZZZ31-.

r~

~jj

:E

L-h*
zzizzzz :#

rj..i~i~l~

zz^lzzlz^zzz
f "~"

M^ g=^ ^=3=a
3

zz*z|zjz: _s

zrzz^zn^z^zzzzLZz^zgzSz^z
X
2

* * *
:?zzzzz:

^zf

rj.r

*1

a_

^
>^_

FH

*c w za %w :

- -a--

m-0m-0~*c\

P=H

p^niffl
r s?s'

ft^
T-T

r-^lzZZZIlZZgzr^r-fZZZZCZZ^ZgZgz#7 _g
,

IZZZJZgl J-*-g

=^-ZjzT

FT
_ZC

-s>-

0*0 z
i_rn
a~l
I

S
"I

bzSzszS
i

rz.-.rp-glgSZZgZZaZ

I.

t%

zEzzl:

_ ~i~i

r
|

zd

" ZiZJZil
i

P F P
i

EXERCISES
iSDiz

IN THIRDS, (BROKEN.)

-^EyftPBF-S

ri^

155
-

^-r> ^"^gg

s H-rr

r pp-B T-zr

EST

--H ^*^^n-Jffl---r-w * * y

*^i wrfr*
rrr -~ppr~ I-

fflTH

S^^SSeE!
"
'

ifirf

>2 f 3
I

3
]L

x
,

x
1

'

v
i
i

L
'
:

v -A * r X
i

q m v^0 \r r~ f~ -~Cr rr
,

i
I

i I I

'i TDTFrrl r-| ~r~rr rF* , r "" T


i
1

r
1
i i

i i

|,

-/

=U

I I I

\^

TTTS^^^

:z^:

'

'

-p^T^T^
i

~i

r~r~

[f

rn

hrt

j #-^
X
!

?i#"i
r[~i
i

B=f
*
r~r~r~r~r

* '~ g

t P ell. - t ^ t H rrT&^t^Ff^ ^i ~Tr^m ^P


r-i
i i

I
n

3Ej
'i
i

0i m r m T" m -i0_tf-yr- ^iii^ r r1 T~ r~!


~fi*--f--f-

r i r
I

'

! i

a -r-F
t

'

''"'

3
;i

r i__ := i~r-~ r~ r^p r ' ' 'i^^.^^j


i

"

rn^

":^"7

7J

1
i

i"

r
,

f_nt:1
i
i i

'

'

"""i

ri
i

~~'

# r r^i r
'

3E?: jz#:

'

'

sM J J. J>
i

JJj
,-e-

J-

re3E

^ F rrrr F r^r r FFFFFf-FFFf-Fpr EE pf ~z: _ _ rrrrr XL2ZL1HI2IIIIX 2X3141 X3 2X31 4 3X31423X31423


-

--

-i
"i

'

._

"

>

*PMrtszt r-p>~~l r "Wf


i
I i i

HFg>-f^-*J d=3^;
fPg ^

2X3

2
i

WL^

^^^Ji
f-H
i_
'
i

'i

ii

gar
I

2. >

i J JJ J

^V
i
1

p>i
1

i
-

^ES-
1

yi.

rt
i i

"r

r
~F~

:p^
1
i

-_

PZj

a 0' #i r~
~?~
i

t~
I

^^
t
i

'

'

'

__
i

<*

;i

J,

'0

i.

I,

-p

m
i

i"

i|

' '

r
'

'

|jr

^-h~

3Zsz:a_xza;;r:3zsi^_^_B _ 1_4_B:

3X3142 3X3142 3X314

'rzPomz

-?-FF-Fp-^-S:

El

l
:

x
;

x
_a 9
*

^^^^^^g^^^^^S^^
-fI

if

# --P-f r-p- r : r (i
:

-p-

- ~P~"'P,- - X V # - 1' V " r mi T-r-r~i-~rn-nrrrr" P"r"#-p-C ~0' ~ m: m m r r T" r ~"r~ r r Z: CT y..J pip:iZT yfi = r 3~?"2~3"I~S~X"T"3'I"2~"' aZ3~3Z2I " -

4
r"
'

-f-

r~ 'r~

"- P""i
'

'

t--i

f~

'"

i~~"

~~

1 "

r""

r~

"]

"j""

j~"r~"<

" TltilLm r t: T.' m T

'

m. ~P~
I

'

-.

ffi

I"

jp^ p-# [ 0-\ -*~r~P~i r~i r~i

' " ~ p-|~ P~m\p~\ P 0~ m m #~P rP~r r\ i^^j ^~Pz;


| |
i

-| it

2~rfl
1

'

'

;~~~1

I
I

P r#:

'

x
2
1

2"

2-

x
.

rrrr'

rrrr

rr~'i

x^,.

^^-^^^^^^^
II!,

gf

w^flW gg
1

157
Q 3 3 Q

-p-fy ^~i

'

ti

*[ #

f*J*i
_x

t-#

p
J

rz
|

iim m

p~ to^ tj h ^
i

'

tr

^
i

f""
1

4
'mm

pf

i p ri f -=*

j *

3
imi

**

t-

^~

~^j

^^^^^^^^^^

x
-

SB

x^-?-^

jV^^a,

pS^|^EP^^S=3 <
=q-

b&:

.#

g
:

a #F
3

1~

sa
*
*
-~X"

s
2
r

XIZZ,

JL.
i

i-

>
^~

:-

^=

h
T~

Jfe-fc-

*
B

*.

>

~z*uW~Q ~b0

,fi-Tlf *

ffP

r-ffp i

r^^r-i

t r~ r
1 1 1 1 1

r *r^ r

'

"
i
1 I

n
X

4
3 2 -#- 1 f>-

iiiM
2
o
I

2X3

bp~*~j "g~K^~T~g~3 11 ^l_


1 1 ,
,

a azzzzi
nif tt
li
3

2*1
J
2 fe i 3

lf-# *&.*

bi *

158

F
1

F
4

' '
!

'

'

J
x

23
X

Vu.

X&l X-VPz

for? ttfff
X
2

rfiF

r~ r

^^^^4
fep-

* be.

J F

rffFlJ

r- f^r*

~F
^<

ses

H
~l

rtfed*

*-

es r
1

-#*-

4 2 13X3

X 13X3

ess =^S*iJ
r"tf

X,

WvJV?~^f
#

I X"lFl

S !

- -

F
?-

^
~3~T~5~T

5SlHl^l Efg^fcjg^ ^y
1

e-j-F^-g-^-
X X
X
2

a_ #

X
2

9
~r~r

*
.

Pfr^
i

# .1
i |

Hi

r-

EXERCISES
Moderato.

IN SIXTHS.

:? x
--p-

S
4-#-

:3x^x^

,4

3 f

2i
r

.-

r-fft f

rt~r-r-F^~ T*

>

~crcr

~ ~FTFrFrrrr, O O CTH ,

np-

". Utf

^S^Sffli^
X
l

43 43 43

i^^

3 4 3

4 4 3 4

IX 43

4 3 4 3

159
Lento.

u
3

32
4
3
4

l2 S*
m

Ac Vi

-mi JTn ^-tiTTI


.

IX)

"

'
!

4l
ffiH
f

^X
j

ji

O ji
r
4
I

J t- i p I r p f f
j

f"tF

Ff f f f p
rTTi 3434
' I |
I

rf-j

i J j 1
'

bfcid ===== = ?=x Fx iTri


3

======
I
,

b==d

r
j
i

f
i

4
]

3
1

tjrm-j--

!^EEffi^^3S^^=^^ J J .-R Ef^^^g 44 4 J^^^^ iTr -i iA?:3 4 i ijl ^^^~^ ff=


'

-3.

^
jg

B
1

BI

JI ^ ? r---p lilt rtt Pc-f c-f Erf tf !=pE^ c F-Fi c-F-c P r p-F^Vh-p-F-P Fj F-f #tf l-F-g-p* p
-
=L

F-

f--F--f

'
I

x S4 3 4
i

hi

III'
o X_

'

'

x
3
1
1

x x 4343
1 1

r -W

'

-X-

f
Sh

ffl
1 P

^^!
-h-P

SEE
*
^ v
1
1

x
3
1

HI 6 B

M
:

1 m ^ m 1-^ j < = ^= m m 1===! :=q^^1 ^ 4.t = ^ *i5 F3 -^ j d *^J


-J

-.

=1

55
a_

Z_

==P
"r

"i

t-Hm-\-i

"P

->

-j

^ ^ a ?
m

3 I
L-LiLJ

ff

T
E

f f f

if
'--

, p.p =p=^fE?=c

S
i

X
3

rFp???*pSpg~-S
1

^
*
-

1I1

If f

160

3*3*
-

;rs
-.1

~
! i i !

aT'af x X .x
v = y -/i--r.T~ri
1

3 r 3

|3|5|P^^

a 1

T"

in "1

m"

rr^fr^Trrr -^t-PI
1 X 1 X 1X1X 4343 4343

n~r r"
:

rrrci

4 3 4 3

>4 3 Q4 3

isitll*
XyX XA XX X X X V2J2
rrn
__

i*jS^=:3

B*toir~3 wl*2 B~W~t 77 ***^ rt *'* ii: ml J#jn *#


1^
in

^333 ,4,4 3 X X 3

Lrrn-ta-drTT

rfirrr~ *"3
-10-<0-

2A2

..*< &

" *? Ay x o x x^-x x

*#

x x

hfr,

p*n*~ rrri ppr Fm


3

r~r n*r F^n


XXXX vvvv XXXX 3234 3234 $$^f

tttt

rszzz
:33~

Be careful

to

hold

XXXX XXXX X
3232 3434

the semibreve.

^X

ww

-XXXX- XXXX^ XXX 4343 2 3 2 3 4343 X 4 444 4 343

xxxxTffl

****

161
4
1

_ s533 dzztzjzizz 0-0-0-0 "^^"^"^i^ rrw r:zz^zzf m~o qfig^giyr^m


jzzUzzjzz
-^zJzzs?zz:|:
TEN. i *___-__
i i

izaziEEBJj
p
1 4

j^
i

_si"frtr_*

m0m r & rt r-rf rTTTT inr


I i
I I

-<s>-

r-r-f-f
-#--

szz

iJe careful to sustain the semibreve.

3 3

X Ji
#-X:p

8m.
3

tX-

CHROMATIC SCALE IN SIXTHS, FUR BOTH HANDS.

hz^zirzlrz^

gg

= _^__g#
-

rr"ru:

fjfy
*=*r-t=*F-

dfc

Hz3?zff: T
I

tz:

l""

r
X
4

--*-

JO*

X
1

*-& :

=H
+

ME-? r
1
f "#-

4-**
g
7oco.

:faMS
3

f f- gt
a

gpgpf
x
3

,x

3 .X

X
:xzz
;z-

,X

XT

**

^$^^zz^zzzz=z^:z:fzz#'zz^:z:: -# 5 g trip
Sft=a**jL_

ri zrzxizr -fr T "^ 3sbfc rzZ^ZZxWzt^' HF MMB


77X
1

^
-i
-Hit,r
i

...

md

riT^y.frgg 3BE
3

M^zz^zz^zzzp: X
X 3 L
1

~i

t r t f.A 4 i J #w w &0b9
1
!

i-vi
jm

-'

X
3

r
x
-4~"i
1

t yp
_

TZ
:^
:

-x
X-

1 x

1 1

rzzr

zziz_

zzuzzb

"i

zzsz::

L._b n 3t
I

IX 43

43

IX IX 4343

'

X
3

5 X
3

S zrn =S z ZBL ^3=3^ W-3-2M==S=^=5=3c-pitz z^lzz^Jzn 11~ " iiizzj *i- ]ziiz5zzizz:zn-:i l-R^F* HzzhzzHzzMzzzK =*! E3 E^zz Ed I rPI

EH
XI vl
p.

34
| |

HE
i

*1

izz"zzizFz^z

'

p.

.. r
,
i
i

"p

bSgCSES

S!

4444

'^

H"

Ph

CZC3ZZ3

r^^^^^^^^

162
Moderate.

EXERCISES IN SIXTHS, (BROKEN.)


-

$
i # ^ k* *1 Vf TLf , Wcfe
tef

ife&S ^&^^^^yUj^
-s>-

4 13

4 13

Moderato.

w y J =* C 5F==^P=F J

^rJ
f
1

rr

-,

I
:

14X3 14X3==a

S3 ==

g^g

^
:

14X3 14X3
Moderato.

i--r-H3

r r r~^rf r-^-r hpJ~*~r'iH~'i'r" p-Hrr-p-Hp ri ri rTnr r^r~i^r-r#~~*T-r-T~-prT- r-p F pp""H


-|
i

4_

pp**pH
1

p*HpH

'"'

'

'"'

-j

rrP-rrrPrr ^ g
:

r~i

pr^ f-hT

^**^

"ZTJ

n_lZE=CE-- f^*^ r^s " rjrp p


rr

rirr

r S^-S
f~^
_

14X3 14X3
_4_3
ft

14X3
FTTh
i-[{-[

__4__a

E23

praacm i
isrj-1 n

i~1 "Itj ~r

^-

^
X
3 1

^^MW~
1

4
,

""

P"*--H p^^H
||
>

'
I

'

I" H H ^f**H mm ^^"^


1
i
|

orq ms _T+"H 5E3


X
;

pa I'll
X
1

P?^
J

h-?h
il
yJ

m
I

^'p^c^^^^^
i

ii; pptH ^^
l

",

'p

rr

H pi pp*pi
I
i

rri M

r" pp*'pi **i ^i -

t^P rr rp rr r~JE Z^Z2 Hj rj

r#

xJSL r# rri _
'

ZTt

PPPJ

PTP*P

rTTTH

r
:

p
pj ?._

r~
*.

p-

-fr-rrf-f-ff-fr

p""p

""i

-ri~r-n

rr
3

--r f-

'

ri
4

f-f' f-

f -f

Jf-"

-f- f-

-,

413X 413X 413X

1 3

1 03
X'!l 4
<3
1

-J

1 3

\~J

r* 2

i4-

q=q :S^
t.~i
i

*n

# #n-# = pg=ffi -.
-|-

g^

<314

-|-^-j

s-e

T* : EifE "
J

i^g^R^sp^S^. yr* 1"T


*

^
p

fcb rpr

Sg
413X

If] r rr"

rrn
3X41

^
j
1

i"i
"i

-i
i

r
i

B
I

B?
|

r rr

rr

rr

i_
i

^-

i:
i

r^y

3X41

4 13X

issaw

^^j=j-r
ft.
'
i

r^f
p||j

P--T-

f-^r- ~rT~.

pIBi

&
-0
"I

'

rhi
413X

-r#-r-ri-r

iJjX~i~rT IF PfriFTT1
i

frr-r h-rrrri
mmnmm

rr *

ZEB

s*
413X
___

v*

i^n^m

nM

413X

413X

f f ff
ti

r'rri r-^

B #

r .

w t#

rjT
*_

r
3_-

l_

vr

rr

rrrP'srnf4X41

iffilS
2 I

3X4X

4X4X
2

3X4X

S3

m SS
8m.

|4w

W4-J

Cm
1

i
IB

=5 SB

44=3-8;

* b

lx^i^IB:
r=^^
r
b

Ac

x
f,

12*531*2 3

nrn t.-iv

2 *

4
3

4 4

3 aXX 41 3X4X 4
1

3X4X X4 X
4 14

g*_js_pc :z: 7 f:siEf


'-Slrt*]-^*t
X

3X41

4X41

^^

ZJL h=i

ZJL

* m

^Tlftf^'

,^=f^=f,

'^ ;%'/-' ^
4
I

:<x

KXERCIHKH

i\

OCTA

^N^^^U-^ ^^a

IJlbgfeig

%is w%

mm
ff^Jfr
i^rf^e^i SJw2* ^
s

IS

X *

&*rr
3

rift
.:

:3

H J H2

*.-3

.j

^
t
::
::::

tiq

BTEtiaxaj srarffi
EF=3

^ff^

P^-
r
*

tAfe *
SB

-#

#-

PPlI
tf

T f Ifffff ffrrVfVfr.f f m Lu QJIP lL tLTLfi Oj


f
I

NiW

PPPfilP

mi J

166

d* rrr

JR.

'

,
LXJ--

-i-

'

3_lj

rT _ -rTS"-E]
l"

r-i

'
i

W^W^
fe:*p
4 j ~r izpza;

^^-

PR

j~i

*i

f b

a r~T~s a
'

*"

V
'-f-1

a_rzr

r~'

s=r IT" IK r w -E-

F"~^
1

3E EE?E

EfEiE^E

-J

Fg

Hi u

*^
TT
f

** ^ fe ES35 I
w-

a.
-a-

=+*?:
:=y

eIiphe^;

f-f r~ fc T"

s **-p=
r

- L_y

-j^=f

3E*

167

--.

fl

SB rom ^^S^EE^
-fl-
:sis~

a y*3

9=1
^i

fS
i

)_*

rjE?

4-0-9.-

T-!-!-!- J -I- J

J jH- l

3 &/&

"Mnu
i_

J _j J * j

i*^

_j"^

3
fc

3u*3*b*
I

'

~p"^

'-

'

4
8 4

a
i

wJ
4 3 4
3

^4

rzrzrzrzrzrzriritzfeazpfP #^k-NH*rffjg-r
,

^^

~r~u~i

i_

r~ii _|

IfJ^rh

'

4 4 3

* 1 I

"
I

r~ ffr

i 1

I
i

s
F;

"t

3:

ifli pg 5
f

#fe#z
r~i
I

-$

j*

r
I

S^

I'

f "fl

^^"~ !j m * #

JH

^
i l
I

1a -n^^
t _?L_d_jL_
'

J=J_ J._ J__*_*_*EE1 JEEZ


1

n EE

gjE^EJE^E^ffi5pE eS
I

=====
^
[

=f
| I I
I

1
j

1 -1

l!

-<&---

EEjgg^_ ip_H 3

~^<_,

eeeej

ill 3,34g41i4yigTO3ga

4-p^- --r^f^-^ ^f Jg

-*

.ifr.

7~' r"
~L~i# r

"I

hj r m~zrm-\ ezsEEM
i

"I

-r rr-#zrzrzrziir fffgfff f M~z n ff f ff *^


1

i*~i
i

'

>

i=i=P=Ei^iPfcSztttP^F r r-rr r r qr~


f
i i i

ZTZtEETZril

Irtfc narF-rrS*T-TH^

r~r -c:-n

rff #

"

-rzhzrzri^zi

169
8va.
./oco.

.3

zz^EsEf^::
p

>'

"

1
!

^E^zzg-^=^:
f* *
f

q:

1 1 1 $ -jr/iy yy see
-

*
'

* *
r

te

*
4

I*

-M-

---

#pzdff=^czte:=t=6fe:
"i

=^=^=E r
1

-g-jfc 1

s^J^^
HeE^ee^ ism
KEV of C
:
i i

KEY of G.

.^

KEY

of D.

WW

~v-

^V.s:

:J

g#W*

*^*Sl
3d

j^d

S5

^ ^^
-^

Ejfef

--

KEY of A.

*T3

KEY

of K.

,^|**J^!

"^^"1

KEY

of B.

KEY

of F#,

KEY
m

of C#.

f"r"m~ r#
,
i i

i^xrwr^.
i
i i

SE

^i
0- -m-m--

"

0-Fzr'i
i

r~a

-ff-f-0 rti r~+ # . g r~i ferr~ *"b~b~i h


i

9'

KEY

of

J-:[).

KEY
JL Vl-F-

of n\).

KEY

of P.

uw

q2

g *^y tFJ
i

Brl^bEH3 r 3= 3 F k L 4r+-FE
: I

Tl

33^fs--

P=

h f-r r-tr r r r 1* L h -pVL-rfyp *-* m L r tri


I
I

_-_ r

r~'i

- 'rl#
1

170

g^miifl
KEY
of c

bmmsm
S
KEY of A.
:

KEY of G

KEY of D.

^^^

f^^S^

3?*

m
**t

#i#^-"r^- f#

j!-4^5^**

foh

^^^gg
afV
*^7T KEY of D#.

KEY

of F#.

KEY

of C#.

KEY
-fi*M.
1

of G#.

J**P5f

mi 43
^FtPJ

^E^S^ra
L,

^^*^

KEYofBb,,ii^

i^_

&*^^_

F KEY of F.

_ 0U m

of C.

rf -r-r-rr-^r- r-f-r
j

:**-

P&
D

^-T ^P
-_

fcfc

- P

U*S^

"**^M~

Zl

KEY
-b US

r-

p-M !#ffe=7 L f T~p-j


!

ffp

t i

n
S^E?
H ""
1

H TTrr^g-a
:=:
-

5 1 2 3 33

iiil^s; l
*
1

*
-j
-1 -\

*i

-fc=te==Ji:

1-

!P

'

'

F-

-F
-

----F= FFy
I

4 j. I
.j.
8

*
8
I

#~^.
8 8

SUS
"
i

^ ff|TTff.;
~w~
[1
fc.

k.

r 11

rT

[,

*
I
,

^
-f

P
r_i_T

~
"*'

^f**l
*W
r
i

|~<s>-

-<s>-

EXERCISES
1

IN

OCTAVES, (BROKEN.)
r

mrn^

&3.n

r -
r~

-iEFzz^c rZLC r;

j~

-P-

"T" 1
1

gV^umz*

#
f

i ^~~

T"

S=s=a

PPPP
r

1/

wwwwS

'

^tfsWftftt (tow f
y^wmf
3-^j- 4-^-^-*7f j:
iz^z

^
it

<r

g:

g:

S:

r r E~~TzEf' fZ?E~Zt e^ _
tr

PHI
i

1 :

& &$$ i'ff. f f,_f f f.f-f-ft HE^^:^E^:^EjEEEEEF:=rz=c jTSg= ^ ^&fc5xig5-F ^


.-

Pe^F?
&
3

11

^
3

^-SjF

^^^ &=&^F&-fc^
p6
:

* A A ^#4 :EEF^=^=^ =E=fEEEE?EEEEfE


3^
3

17S

-es

EF
#--*-#
az:

=
Moderate.

^=F
!E=ft

..

tf

@=S

"

gFF?

B %
tf:

g~

=E

Tf fj *3 i^iiiil I pi
ST
S

n
az

Moderato

n* - - *hT

s
*'

J.

ff*^

=i

174

m
V
F

-0-

*-n -1 r
I

-rt

A ?-
K-r-
r

-i

ZZZtzjZZZI

if

mm ^
r
f
m
.

3-3r LB

s
i

r Z5 g
~~i
i

^^ =E9EJg^
i

*
rzzfc

fes ^3
*=F

i-^~

-fcfc*:

#E?
f

LS-[
a ^P
r

?Lr

Si - =pr- g r~D -^ K"^ q_j:

55

**

Lfb-tfUVy^" E352 Jd if @=^= J


[

^^

p-ir jp-|

f-|

#-|

-rr-r "^~r"*"TZiri ^safes 5 5 y-Qp

j _

--

4 r

jzzz
p

ri-g

r lr rzzrrzizr
1
1 i

r tz 1 TZPZZ-ripfZCZf - ^szi
1

"i

Lfl >l

sypea
-9-

&=&=&

f/

.f

3E

^_JE_JL

S^^
*z~zc r~ ^i

"i

zr-f:

--#-i

^^W^^^^^^^=^^P^^^^F^W^ f g y Sg
:zz-pzczizz:#zc:
i

sS^ifc=F
j~i

zz i

r~

wrri'-zarj~_ t

g==M*

#~i

t=f=^h.

ffl3

ma
z~i

ezpzz

_*z

3
L-#-

ill

'1=

-f-

XJI
J

6 pzl
4|

Nf^l^^P
i i i

*t ZZ<~ rfE r~ *rr3 (zxz


i

1 ^& trzazzp^fZrr-zr^p^^
8ra
1

loco, -~f-

1 i

m~r~
r~\
i

err
i
i

rm rrp

iZaz
i

r~ pcrr-rrri-rn

:_.

Hiz

i|ippiPipS|
9-X-t-pp'c^-T
-i>-f-

zzzz^rczz:^ ~0-Z*zz!

#F
i.
4^

rzrz~m~r
'X4

^21

><

SIP

IKS"

EXERCISES IN CHORDS.
Allegro Moderate.

175

&-e.-m

J0-d - mr--#-

E^==f

1
j

2.

=3

-f-fJ

STUDY XXV.

iff"

KEY

- iF^

is a
-

fi^ -T3
6-

Sf
3

-#-

MB
j__

|m~*
IfT

W-

^
H*=T

iil^e JiPfWf
4 4
:

33^S ^ ^ 3^1 rf-f 1 i^pg^ 3 n^ 33?


;#-o1
*
^i=

/Same movement.

j J

/ KEY #^

of Q.

M:

3-=l-~F

fFif
i?

P
sf
j j

1 1
I

-5

1EEE3 %m

3=1
1

"3^?

m
^

I
/ KEY
f n.

T^r ?=!=
=iN==fc

S=l
3

Mj

-flj

>tr
H

e
#
: :

3=fe
/
i*
#z*z r:

m
i
i

SeS

r-i

r
x
i
i

:i

-t-trfcr-

3=3=3
'
-3

tt

-1-

| nii
T"

KEY
-#

^ T^ n
it

3*

-Ml-

of A.

*r*

3
-.

1^
"

f-1
:#*i

P-

*=P

T~

s
3
rfly

r=f
=r-4=^=rzz4

=g=i EE r-t EE =F

-#.

^-* :

^r
.~BC

i
*

--i-

t=sr
^9?
L

^=-

lq-SL

fr^7

:--f-:

"2^

+*

gpp
4 3
.2

+-

-f

5
I

==E E=3
use
#
4

?
d-m*

- m i_^_.B M

L_S m m~

K_/m
\

^a
ff
8

4 3

!E

KEY

%-+

Of E.
1

W^

&

176

^b*

*4r

KEY ot G.

M f

>,

M m~-

5
r
--
~r

r*

s i
:

mm^1

-44

ff

p^?

EEE5

**#

32 *

M lfe*3E
ijJIFv*?

-4--\-

J*

177

BE? pa
KEY
of
1)1).

*
=i

:i:

i
5

1 3
I-

^
3.

:Sfci

bbJ

SS ffV
b
fcs=gr-

JF

JEEj

:S
-

U
3l
--

pi
1
1

Jaf3?|i^^-

TStnnH*

ii
X

#-.Hf

s>:-t-

=p=^=*

- IF
"T
t=4
-

s *
S-: -?--, 28.

KEY of Ab-

I
:

S5 *=t f
sEfcZT^

"

M
r
:=*
is?^: tQ-

p~y

mztzzrkz

ft YS

Z3SEZZ

zrarpi
S: 15"

2*"-

z:

r
S

s:

IX3H
1
--

EE
KEY
or
I

-J

II

^E^
slit

'i *g
t-

Eb.

H^

*
t-n

:-fei73--,zzz: S-b-4 1

5^ y-*-r*
1 *l: :

e^:^

m 3^
at
-$*-

ri^ ff
a
-

=i= BP5 ^i
:

s Pt

f d

yr

4
lb.

key or E

=i

i
#_ 'r J_
5

T~~

r~r

T
-#-

5
:#-

3
T
l

:-f

=*

33 5 <|

il

IB
S3:
J:

:ia:

T
~T
jr
~9~

f
^
-X :

"~r

"X

*
f

J--jr
3S

*
fei
-

'9'

* r
sP

T"

:55=

_j

b j-

r~r

fr-


>J 0'

3
5*1:
:

"bur*:

bb5-

^S r
Bt
br
r
--#-

bS

I-

rpt
-b

^3 W w-

*
:feJ:

*
b^~

Se:=5e:

9#
p-

:5U:

'PT35

ttr

s2

178

S-

=e^ 1 X

KIT

of

F.

>2

& IS
c c_4
**

:*:

-3--J

i-

^-St-Sf
dal

n
KEY
of
C.

til
i
7
K.

*=*

E^L *

aw
-J

a
-1i

fffVI
s
-^

#-

-ST

^
#
J

-J-

B
-

^-*
1

1
WV -

m
f i

^ **
^F

SE
#s-

**

*
3SC

I *
Ha

t
---i*

:*

i
#

6
^

N
sfc

8p33

ffi

l***N
s
f
i>*

W
w
-i

3W T?

:#&i^==igi bj E

=fct

if

vt

i
r

Hl
=fc

tt

SEE*3 n

3^ PI
=53

n#J

-#*

i
-#.

:6i-

^
:5i

S
IS 3 ^

S=S
r
$:

I
:

i
:

f
Rail

f
zto

:zb

-**

"b*

^
-b#-

Largo.

3:

-<9-

Ml

=3=

I=e$

:zzz

CI T

* ?

-&S>
-<s>--

~jsr

IVJ

MAJOR MODE.
FINGERING OP COMMON CHORDS IN THE THREE POSITIONS.

-01 -+i

:i^:

*-

SET

of C.

* ^ i 3 ==IS=d tr
*xl

*
KEY
of E.

^1

CZstz^ZR
KET
of A,

Kg*=3
=
rir*

^
/
i

Si

f
-*-

i!S

f
t'y
"J

Vdfc

E- e
KEY

*-

xKEY
of B,
-

-#

-f-

at JE, 1
KEY
of E,

# #-3-

*
j^#

t'l

of a.

^^_^ _ *33
it
i3
ii

b b b b b b b

rtv

b^b

**=F=t

b-tHt eSP^n

hes"aptftm ] 1
,.

It?
4#:

KEY of D.

?i f-f
d -XI-

*!>

KEY
a.

of F#, or

:~d::

r
#"#:? ,i_~t

KEY
*

of B,

X &T.m *

-81"::iof

-1-#--

r
-i

-xir

b b b b b b

-^

qp

Afr

r
3#
m-

^5_5=if:
"1

__|_

3*

i-

-1- --

KEY
KEY of
A.

of C#,

s# 4=g -*
KEY
of Ffy

T
8
l *i

-L

b b b

b b

or E#.

-^zz-^zjrzznm :

^Tyfe
r

::

Observe the same fingering for the

common

chords in the Minor Mode.

This exercise

may be

varied

hy executing the chords

in Arpeggio.

-RF3=4Ti=

2
Example.

180
Moderate.

CHORDS EXTENDING TO
_

9ths & IOths.

-#-

-p-

^_

\,g,

fe
STUDY XXVI.

__
L-**#-

H*

r
(

*P

fH

-4-

pg f 1 tp~~ip
i

ip:

T'TTT
to

N^
h#_:_lMLb-*fL
:si

g
-e
-i

y-

r-

Avoid

the

arpeggio movement as mutk as possible, in order

accustom the hand

to the extensions.

b*

gr

r =
t:

-*-

ffc^c=*=*P
f

y -#
*

#J

3 2
t
t

3 i 3 ^
-A:

n
5

*l
i
;

jfe^g ^^"aw
Ji

T~ P^f

jr_ 5#- 1"

*=

&

at
*L

*
*p-

#?-

i= gffi *

^=3^i =
f=f=f

r
f

*EE*EE?EEjEj
F

T
8
I

B*

r
*_
:

3=
:J

1
dji.

B
3
m*

ei:

*
:

3=ftj= -

mr
.

3-1-

*
wT

w=* 3
3=
:

BSt

3E^ p=Jp: 31
* t>-1 tU
is>

r ^ &:

r f I
-s>

j_ ^
i

&J:

"mr

=^
!

s f=f

-
~CT

2CT

--

gsjlljj

f ff

& 3X5^ -&--

THE THUMB MAY SOMETIMES BE EMPLOYED


TO EXECUTE

5*
3a:

TWO

MOTES.

f F*

THE THUMB EMPLOYED ON TWO NOTES STRUCK AT THE SAME TIME.


Megro
-

181

STUDY XXVII

!*i

r*i

n n J^ iJ5 Jl
^ 4ff-

&/*i

T *
fee

Jor

^-^ #
X

fs

Hi

pi
#

h h ^
;

^_

_^
xpr

&&Jn_n

:dfe
i

:r~r
ft.

B~
-53

-0-0- -#--

>-- -# - 0-0-r-r-

fc^"

B
"~(

t:

T~
:

i
EE8

if

!V

pt~

^ =P
n Wn n U J IE:: 5 0
ft*
1

*_|_4,J__fc_i_*ft a e

TU

r*j
l

r*i

If

p. S-

4#-2

J3
xx

4#n, #n

xj*rsjKp

$0*
r~

&
S

= r E=F r~
Li

4
p
-

-r-

~wr

?4=
t IP

H!F 3EE3i=
err
-

*
:

~
rzzft-

ra

p^' P*

P
~

jj

^r

^^f^-p^p-f^^" "
.

~tr

^ 5 *
'

'

'

XX

se^ee^-j;
-p-r

fw

t2

^ E wMpu ^-m
XX

#~

xx :z=Jz:=f
~wr

=J=z?: :=Sz=^2~

~e

#?:

s>-

*-f-

___g_;~"
"i

:3E

::g

U3r^tp

jE32

STUDY XXVIII

^,^03:

183
Moderate
*>

i
i

'
-0-0-0-0i

0-m-

^-^-^-i-^-*,-^- 11*~ri-r

ff
-0T0-

*H*&mt&
-

* *- 0-0-0-0-0-0-0-0-0-0 0-0-0-0 0-

iifUk EfiE pppp ppy -M*Ml-t 00


-0

H0-H

0-0-0-0-0

ttfe
1

W--W*rJ&-*&Z^Ztttt -0-0- 0-0-00 ii i+p rr rr inn j


-#-#
i I
.

# ---hl-# - 0c0r0rm-m 00-0-

'

'

'

Tff
ti

0-0-0-0-0-

0*00

eppp: # 000000 0-0-W-0-W-0


0-0

gBSL-g_CCECE * ^0 ** ^0 ^01 * e 00 1

ygrgg

t rfr pfpp>>-3* cca -TTT o * #: - f fg"gg rFFFF "ffff fggg T V irrfr - # TTTT "V 000
!

tfflm h-h
I I
I

J * f WW

|0"

'

m^ffl
"#---

S -Trrr
TrTi i

*TO*P -fftr -0-0-0


~irlpi1~
-

3*-!*--
4

# #

-m-wnrmr

-0 0-w-m- J0-^0-*-*-0

LI

LLL pppp
i

gr

rrrnE

gfgg g C~g g-ffff


I

++?+,&
1 1

r~

00 00
(J

10

:^p flir.Trzrr.r"- m---

0-0

#P JEHlHiE

^gf^ppf fj^J,;

"B
0000

-J
'0

JBtteH 00 r
-
i
i

-#L.-#L,-#L,- -r ri

45BBEBSE

184
TEN.

STUDY OF THE TRILL.


is??:

-ta1

EXERCISE

~r
1

~
i i

-i

f
"l

'JZZ

:zt_zl

PREPA1UTOKY TO THE STUDT OF THE TKILL.

Allegro.

TEN

s
gg
-s>-

^:

:Sfc*:

-sff-S- 1 -

^
- I3Z2Z3 a

E^SS ^^ffi
2 3 2 3

^IS SSHa
4 3

E5SSS3
-flJ-8-L

*-

r t

TTTT^

^ezp* gE*

=g

EPE

mm

P^P^ph

-s*

?EMfeQ ^ffi rr~r~nr


i

WS5
EZZLJ

^fe*fii

#
A
i

:zsj

^gfe
t:^

4-fc
I22I

Jt

| '+&&
:

25

f^f

_ZiLt
A

ragpffis*
_ _^_ A__

lis:

A_
r
_A
i

A_
I

_A
r~

~r

g -eE-

P^E
"
i

A
i

A
r

_A_

A
c^j:

r S==E S=
n
~
i i
i

g?II3m=e
&-+-&-*T~

^__
221

py
r
r

^E

=T=P-4

-.

186

Lento.

r ff-rf'fftfifftffrff
~>
i

~i

1 i

1 i

1 i

jj
4 3

4 3

gg
i

'
I
I J
i

4 3

4 3

-<S>-

xr.!?ritiz!*zaz!?:

r"
i

r~
i

T-r-rP-wrP-wrp'

en
i

<

r^r-r-f
I
i

:C!?z#~"i*'
T
I

"i

_ -wrP-w~P~9~P~-f' *=:?zezBzez9-r - i?zi!?: 1" MrT"r-rr r ri r~r r r~ir r^r 1~ r r rrr-r


i

"r~
1

'I

x x
->

~~ r E3
I

;cr

1
I
I

l
i

r~ ^j 4 3

B~ ~B~P~B~f~B~f' WZ&ZJC&ZKZfZM: T EZCZr-r-r


i

"i

rnzc

Pf NfPfTf: ? f= Effig rrr 1


:
"i
i i i i

<

f
I
i

"i~r~(r
j

rn
i i

r~i
i

r
r~i i

r~i
I
i

<

r~
I 1

rn r-r t r~i l_
i I

r~i
1

1 ]

r~r
1

r~

~i

r~r

4 3

-2J-J-

IT

I"
.

S5:

:i^J:

J J J J

4
,

d j 4 J ,.. d J f
,

t # r f
,

J>
"
i
i

^a3=Se^^;
4

JTTj J7T3
i i i i i

-WJ

'i

3i =Ej*j:-

aQ

dEmjm
-X-

II III 4-4-444044 3ES:


,n_jg_jg^
zzz? zzzszizz

i
i

^=^:zJ.Hz:j=4zj:zj'zg

affiS

LX-J.L
:?zj9zl?--

-0-BB -~B~ ~B-9 -B


j5?ZI
-4

STUDY OF THE TRILL.


1

EXAMPLE OF TRI1LS WITH DIFFERENT TERMINATIONS. It R=9 tr ... -o =J s-e I'M


.

Jl
ISZZZ]

hN-i^122:

Lento.
-<s>-

-s>-

-<s>-

rg~zzzz
I

BJ

-Gh

~&OZZo2

:s>:

186

jSjEa
'L'..,l,'-.^n

jffl

7&Z:

-&

**-

mf .I'll

rr

:a:

zez;:

Lento.

S3
dbg
--

a)

53=

jfejgggi
4-

"^r
I22~

^P

(1)

The trill may


be

sometime!

prepared by a grace note

iz

Allegro.

EBEBB&

i-4

x-

^^^E^^aegssag
qi:

(2)

:zzs:
is

When
very

tril!

long,

the fatigue

may

E
iEi
ETEKCISE ON THE TRILL
--

be avoided by the changing


finger*

3E

# Vj ^V ikJkgg
-e-

*
-S2-

Wkz

FOR THE RIGHT HAND.

Allegro.

<s>-

-G>\--<S>-

-&-

Zffi ~

:s:

1521

i.
(

fl

aji i_n
XI

tr

JBL
-a-

4
2
Ifflt

tr

H
1

I
x .
-&-

*A
i <S>-

-es

iLsI

-(SL

JUL

S:
i

"JSL

rT

187
Andante.

EXERCISE ON THE TRILL,

s-e

IT
-4

^ s
Jr.

a:

sb^J *h
-s>

iL

J-^L
--

a-

Z22I

FOR THE LEFT HAND.

ife *C ST
HB-

i eE3
i^za
JSL

te^f rxj

IX2XI

fcft 1X01

JJLXaJL.

*iai-

JUL

-o-

m
A
tr

2z:

1&Z

22:

^sE
-iS-

-sk-

x:

>

ip

3BL

_te_
-<s>-

SEE

--

g-S>-

S33BEE %$H S
:

;r

-^-sHr 1 feaftti r

i=i J
ip:

TJT

^TT

:x

=5"

=Mf
.2ir

-p

&lJ

4 JX
2z

~*
1

^~
1

-"

r >

ftj

ft]

3ftJ

-7~iT r~iT#~ iTT#T3E


1

rftTf--^(

MEASURE THE TRILL BY MARKING THE


FOCIt BEATS.

S^-tr13

Allegro Moderato.

IX

Zl.

k2-

-F-

-*

-F-

J
-#

*
0-

r-

tr-.

-F-gp

:sz

m*
r

^_

_
~.

#_

i=E r
r

#r=^~
?

SEE|:

188

ft
Lento.
tr

&
tr

aLp
"n?'

sfc.

#=*

S=ft
tr

& ll

r I
I

::se=::jj

ri-jjE-

^
.
tr..

33T

^3
4=-

"2"

gpoi
-tc

f^g

^n

J21

-#-

--

-iS>

T=>

22

tr

*c
g;

-(t

icfe
:*-

^--#J---^-

:=

Mft
"ff"

nr

:p=3 xs

s
-1 jp

I
--.

^S=#!=s
:sfi

?
_fc.

1=1=

"

C^
tr

I
!5?

"
be:

mx:
r
-F:
:

f
Jjl

3
q
.-#>

g?~
-0-2-

3ZZISZIDG:

fr

tat
Lento.

"gr~
tr
>

T-x:

-<s>'-

gEg

itip

$
M-

M SS
14 -i*
Jr_!

iE* ISC

rrl &Q
P
"2
3

-*-

P
1

"Ul 2

3-jt

3"

tr

P
'

"TZ
"J*

'

3 34343 93
J

34249434
__
ljajj
-a
s'

189

4
zx.

_tr.

>a
-W

LJ_5Lw-

Z&=3
tr

1X3ZXTX:
tr

1= i"~i~S

Ul
i"

miffflf
3 *"3

\--G>~-

"f

xs;

-<s>-

J^
5%=

tr

TRILLS IN SIXTHS, SIMPLIFIED FOE SMALL HANDS.

ji

l-<04-<S>-

"2T

TRILLS IN SIXTH&

-te

-i

-P- P-zfcfli-*tfri

sj

ptd^^e^di^tftp
S-s>,-s>-

<

tr~>
r
I

I*

Pr ff Pr
1
(1)

_r~

321
A TRILL DIVIDED, ACCOMPANYING A MELODY.

TT^
Allegro. 23
2 3

When a trill accompanies a melody, it should be divided into notes of real value.

=^
XL
(1)

R=FR

l-i

Jr_
'2s>
:

Jr_

EXAMPLE.
XFFECT.

5=f

is:

g^H
'^ i
Allegro.

J-

CZr

tr-r-#

A TRILL DIVIDED, ACCOMPANYING A MELODY.

-- j-t. _*u ^=6=tzrzzr= :~~bt*~I" a Ip~1pH* "i~i r X~C


j

~i

r_ -

Adagio.

IKGTHE
HANDS.

T~H
tr

"SF

S
Allegro.
2 3

HX Ea

3
-tr-

r6-^
-S>-

&
-x-x>
Iffi.

ran

::sz|:
-i-

Andante.

-F-

3E

na ~

St=*=
"S5Z

&

rz-

-s

-&-

L-ag-s>-

190
2
- tL

-c

&

4
IZISZZ

g=
-*-

i
==Ez

~zK

*fi
E2XZZIJ:

I
r

mzsz

i r
^

:x:

3E

y^^
is:
if

:feN=f^^=pfpfff?i^|

?
f

.hot- raro pJTOI

^ro OTPOT-^OTffiS
E
2

-*-

i^-e
Lento.
_a
IE

s:

=:

Ji

u.

"=&

X3Q
J2L

R r
-

<

22"

EE
-<s>-

m
Lento
f
!

M
Ir

Jx_

.2

32
2

H^P?
2

#J

*X1Q

ii

33

^feaM
"55-1

dzzEazzzzirirLzig:

^ZIBI

3
I*

^
1
fr

Ir

21

21

i,

-l'^lb"

f
,

~i

ili3to::is^fcaEKOT-

F^t
Jr_

fi

<*

4
4
1

IT
4

unss t X 33S==rrS5= 'X^T^ ^


L
>

3
1
S

1 a_tr

__^

ft-t?

--

-_

-^-#Sr ^-S

^T-** 1

'-s=^7kl LL

i^
-4

u
Jr_

Allegretto.
tn

_lr_

Jr_

q_--rzD=n.
2

jF'-=S3F 2 IX IX

jj
2

3
.

IX

JJL

J^-^^r

:S=

^
i
y
. -<S>-

+
:s?:

5:
fr-rrfrff^f-rFrff fr ff-f rfrfrtf frfr
'.XIX

1B333B35E1 :^1zrS thic L-

2s:
I

^^

>-,

l |

+_|

^-J^_M-^-

I ;

~g7X'x ~8 3 2
~l

p~~

T"

91

SCALES DIVIDED.
DAILY STUDY.
a
1*~

X ^.

Allegro.
'T~r

^^ RTF

a
3

fff-ij

,
l

rjjabtj: t~r V
2

_7Fy/

4 x

'

r""T*1

^m0 &** rV
f
,

^.-FT~ n
\l-

^T^

3_

ST<

_ _

Allegro

^YnMlfftf l**^ ^
i

hi

i T ^** ^S SIX
i
i

r~

r~i

#-_ A
r-rr-f-#

3
a.

in^~
Li! 3
v
*

~-

f-

i&
53-7
Practise these exercises in all the keys, major

A
i i

ff",

93

and minor, observing

strictly

the fingering, and accenting strongly each

beat of the measure.

DICTIONARY
OF ITALIAN, FRENCH, GERMAN, ENGLISH, AND OTHER MUSICAL TERMS.
w Ml
CON CON CON CON CON CON CON
DA,

AGITATO, CON AGITAZiPNE, (IC


tion, anxiously.

accelerating the movement CCOMPANIMENT, a part added to a principal one effect of the composition. the of way enhancing by ADAGIO, (It.) a very slow degree of movement slow. xtremely A.DAGISSIMO, (It.) A.D LIBITUM, (Lath*,) at will, or discretion. This the time of some particular that expression implies passage is left to the pleasure of the performer; or, that he is at liberty to introduce whatever embellishments his fancy may suggest. 4FFABILE, in a kind an4 courteous manner. AFFETTUOSO, (It affectionate, tender.

t.)

by, tmt

jfHjtiLI.ERANPO.

(ft.)

DOLORE, (IL) mournfully, with pathos. GRAVITA, (ft.) with gravity. GRAZIA, (IL) with grace. GUSTO, GUSTOSO, (It.) with taste. IMPETO, (IL) with impetuosity. MOTO, (ft.) in an agitated style, with spirit
SPIRITO,
(IL) by.

be played Just as

MA,

it is written in regard to pitch ; It generally occurs after 8a alta, or Sva basso. (ft.) but ; as, allegro ma non troppo, quick, but not

RONDEAU,

too

much

(*>.,) RONDO, (IL) a compoaltien several strains or members, at the end of each which the first part or subject is repeated.

so.
(ft.)

MAESTOSO,
sion.

with majestic and dignified expres-

SCHERZANDO, SCHERZANTE, SCHERZOSO.m SCHERZ, (ft.) in a light, playful, and ifwrlivi


manner,
the sign

CRESCENDO,

with quickness and spirit or CRES., {It.) with a gradually


(It.)

MAIN,
in-

orM.

creasing quantity of tone.

MARCATO,
MELANGE,

(Fr.) the hand ; as, main droite, main gauche, D.,M. Q., the right or left hand in piano music. (ft.) in a marked and emphatic Btyle.
style.

SEGNO,
SEGUE,
lows

or
;

55, , (ft.) a sign ; as, at segno, return i% dal segno, repeat from the sign. SEGUITO, (ft.) now follows; or, as r

DA CAPO,
DAL,

(IL) from the beginning; an expression which is often written at the end of a movement, to indicate that the performer must re-

or D.

C,

MARCIA, (ft.) a march. MARZIALE, (IL) in a martial


; ;

with agita-

turn to and finish with the


(ft.)

first

strain.
;

by

as, dal segno,

from the sign

a mark

(Fr.) a composition founded on several favorite airs a medley. MEME, (Fr.) the same as, meme movement, in the

same tune.

; as, segue tl coro, the chorus follows ; *rgu U now follows. It i* also used in the sense of in similar or like manner, to show that n sub sequent passage is to be played Iiko that which precedes it SEMPLICE, SEMPLICEMENTE, (ft.) with riw

finale, the finale

AL, ALL', ALLA,

DECRESCENDO. (ft.) gradually decreasing in Quanme of. SEMPRE, (ft.) always; as, sempre staccato, alway* ALLEGREMENTE, (It.) with quickness. METRONOME, (Fr.) an ingenious instrument for staccato or detached; sempre forte, always loud; tity of tone. indicating the exact time of a musical piece by sempre piu forte, continually increasing in tore*'. ALLEGRETTO, (It.) somewhat cheerful, but not so DELICATEZZA, (ft.) delicately; as, eon dehcateiza, means of a pendulum, which may be shortened or SERIOSO, (IL) in a serious style. with delicacy of expression. quick as allegro* ALLEGRETTO SCHERZANDO, (.ft.) moderately DELICATO, (ft.) delicately. lengthened at pleasure. SERPEGGIANDO, (ft.) gently and si';ntly creeping
playful

(It.)

to the

sometimes, it the

of repetition.

MESTO, (ft.) mournfully, sadly, pathetically. MBSTOSO, (It.) sadly, pensively.

pticity, artlessly.

and vivacious.
(ft.)

I.I

Ff-REZZA,

joy

as, con sllegrezza, joyfully

Hiiunatedty.

ALLEGR1SSIMO, (ft.) extremely quick and lively. ALLEGRO, (II) quick, lively. A term implying
rapid

(Greek,) naturally ; that is, according to the degrees of the major or minor scale, or by tones and semitones only. DILUENDO, (IL) a gradual dying away of the tone

DIATONIC,

MEZZO,

MEZZO CARATTERE,
MODEBATO,

(It.) in a middling degree or manner as, mezzo forte, rather loud ; mezzo piano, rather soft.
;

onwards, quietly advancing.

SFORZATO, SFORZANDO,
a particular n'le
(ft.)

or sf, (IL) implies thai

till it

and vivacious movement, but which

is

fre-

DIMINUENDO,
tity of

arrives at extinction. or DIM., (ft.) implies that the quant**

quently modified by the addition of other words; as, allegro agitata, quick, with anxiety and agitation, &c. "Q% A.L SEGNO, AL SEG., or the character $o# , si^niaes that the performer must return to a similar character in the course of the movement, and play from that place to the wordjSnc, 01 to the mark ^s. over a double bar. ANDANTE, (It.) implies a movement somewhat slow and sedate. This term is often modified, both as to time and style, by the addition of other words. ANDANTINO, (It.) somewhat slower than andante. ANIMATO, CON ANIMA, ANIAiOSO, (It) with animation, in a spirited manner.

tone must be gradually diminished. DI MOLTO, (IL) an expression which serves

ment

the signification of the


;

word

to

which

augit

is

MORCEAU,

added

DIVERTIMENTO,
DOLCE,
or

as, allegro di motto,


(ft.)

very quick.

a short, light composition, written in a familiar and pleasing style.

MORDENTE, MORENDO, (ft.)


tone and time
;

implies a moderate degree of expression and execution. (IL) with a moderate degree of quicknews. MOLTO, (ft.) very, extremely ; as, motto allegro, very quick ; molto adagio, extremely slow. (Fr.) a piece or musical composition of any kind. (It.) a beat or transient shake.
(ft.)

is to be played with dmpnasM. a movenfent of a slow, soothing pastoral character, in 6-8 time, resemb'ing a <i.ni<t peculiar to the peasantry of Sicily. SINFON1A, (IL) a symphony or orchestral compost

SICILIANA,

tion in

many

parts
(ft.)

SLENTANDO,

a gradual diminution

in

the

tin.*

or speed of the

movement

SMORZANDO,
SOAVE, SOGGETTO,
SOLI,

gradually subsiding in regard to

a gradual diminution as to tono. (ft.) in a soft, sweet, and delicate stj le.
(ft.)

DOL.,
or

DOLCEZZA,

CON DOLCEZZA,

(ft.)

implies a soft and sweet style.


(IL) with sweet-

dying away.
;

MOSSO,

(ft.)

movement

as,

piu mosso, with more

ness and softness.

DOLCEMENTE, (ft.) in a sweet and graceful style. MOTO, or CON MOTO, (ft.) with agitation. DOLOROSO, (A.) indicates a soft and pathetic style. MOVIMENTO, (ft.) time, movement.
E, ED, the Italian conjunction and; as. Jtaulo r riolino, flute and violin ; nob'dimtnU vd animato, with grandeur and spirit ELEGAMENTE, ELEGANTE, (IL) with elegance. ELEGANZA, (IL) with elegance, gracefully.

movement, quicker.

NOI1ILE,
grandeur.

NOBILIMENTE,

(IL)

with

nobleness,

A PIACERE, A PIACIMENTO,
of the performer.

(Ic) at the pleasure

APPOGGIATURA,
APPOGGIATO,
(ft.)

(It.)

a note of embellishment,

dwelt, leaned upon. ARIA, (It.) an air or song. in the style of an air. (It.) ARIOSO, ARPEGGIANDO, (It.) pxssages formed of the notes ARPEGGI ATO, >of chords t.iken In rapid succes) sion, in hmiation of the harp, are ARPEGGIO, said to be in arpeggio. ASSAt, (IL) very, extremely. This adverb is always joined to some otlier word, of which it extends the
i

a small diameter generally written in

ENERGICO, CON ENERGIA, ENERGICAMEMTE,


(ft.)

witn energv.
or

ESPRESSIVO,
expression.

CON ESPRESSIONE,

(It.)

with

ESTRAVAGANZA,

(IL) extravagant and wild, as to

signification; as, adagio

ami,

very

slow;

tdlegro

niMJ very quick.


\

TEMPO, A TEM.,

the performer must ing movement. BALLAD, a short and familiar song. BARCAROLLE, (ML) airs sun? by the Venetian gon-

\TTACCA, ATTACCA

TEMPO GIQSTO, (It.)

(IL)

the regular time. in strict and equal time.


i

composition and performance. FACILITA, (It.) a facilitation, an easier adaptation. FANTA1SIE, (Fr.) ) a species of composition in FANTASIA, (ft.) i which the author gives free scope to his ideas, without regard to those systematic forms which regulate other compositions. FINALE, the last piece of nny act of an opera, or of a concert or the last movement of a symphony or
;

NOTTI'RNO, (It.) a composition, vocal or instrumental, suitable for evening recreation, from its elegance and lightness of character. O, (ft.) or; as, fiantn o violino, flute or violin. OBL1GATO, or OBLIGAT1, (ft.) a part or parts of a composition, indispensable to its just performance, and which, therefore, cannot properly be omitted. VA ; or 8va, (ft.) an octave. This word is generally joined with alta or bnssa; the first signifies that itie passage to which it is applied must be played an octave higher than it is written ; the second, that it mnet be played an octave lower.

SONATA,
ments.

(ft) the subject or theme. piural of SOLO, (ft.) implies that two or more principal parts play or sing together. Such parts, of course, are never doubled. SOLO, SOLA, (IL) alone SOLO, (ft.) a composition, or even a passage, for single voice or instrument. (ft.,) SONATE, (Fr.) a composition eon sisting of several movements, generally for a single principal instrument, with or without accompani-

SOSTENUTO,
SPIRITO, SPIRITOSO,

or

SOST.,

(ft.)

sustained, conunuowt
spirit.

in regard to tone

CON

OTTA

SPIRITO,

STACCATO ;

(ft.)

(It.) with with great spirit

PASSIONATE, (ft.) in an impassioned PATETIOO, (ft.) pathetically.

manner.

(IL) implies that the notes are to b played distinct, and detached from one another. STESSO, (ft.) the same. SUBITO, (ft.) quicxly ; as, volti subito, turn quickly. SUITE, (*V.) a series, a collection ; as, une suite At pieces, a series of lessons.

PATHETIQUE, (Fr.) pathetic PASTORALE, (ft.) a soft and rural


PEDALE,
(ft.)

SYNCOPATE,
style.

(IL) iu a constrained

and syncopate*

movement.

implies thai directly commence the follow-

SUtll

O,

(It.)

sonata, in the German style. FINE, (ft.) the end. FORI E, or FOR., or simply/.,

(ft.)

loud.

FORZANDO,
is to

or ff., (It.) very loud. or FORZ., or fz., implies that the note be marked with particular emphasis or force. FUOCO, CON, (It.) with intense animation.

FORTISSIMO,

PERDENDO, PERDENDOSLor PER DEN.,


plies a gradual dimiii'iiiii'i, both
;

a pedal or stationary bass. In piano music, this term implies that the performer must pre** down the pedal hich takes off the dampers.

BEAT, one BEN, (ft.)


marked.

doliers or boatmen. of the principal graces in music.

FURIOSO,
tune.

or

CON FURIA,
GALOPPE,
in

(ft

with

fire.

(ft.) imn the quantity of tone and speed of movement. PEIJ, (Fr.)* little. PHRASE, a short musical sentence containing an in-

well; as, (It.) well This exprrssion indicates that the passage must be executed in a clear, distinct, and strongly accented manner. BIS, (LaL) twice. A term which indicates that a certain passage, distinguished by a curve drawn over or under it, must be performed twice. 6RILLANTE, (IL and Fr.) an expression indicating a showy and sparkling style of performance.

BEN MARCATO,

complete ide.t. GAIEMENT, (Fr.) in a cheerful and lively style. GALLOPADE, (Fr.) a galop; a quick German dance PIACERE, (ft.)

sprinkled, broken into arpeggios. a close in melody or harmony an ornamental and extemporaneous passage introduced at tne close of a song or piece of music. CADENCE, (Fr.) a shake ; also, a cadence in harmoay ; as, cadence parfaite, a perfect cadence ; cadence

IRIO, and spirit BR1SE, (Fr.)

BRIOSO, CON

BRIO,

(It.)

with brilliancy

CADENCE,

(Fr.) a quick species of PIANO, or p., (ft.) soft. 2-4 time. PIU. (ft.) an adverb of augmentation; as, piu presto, GIUSTO,(ft.) in just and exact time. sometimes inoccasional quicker; piu piano, softer. embellishments, GRACES, dicated by the composer, sometimes spontaneously P^ANTI VO, (ft.) expressively, plaintively. introduced by the performer. The most Important PLUS, (Fr.) more; as, plus anime, with greater animation * of these are the appo^giatura, the turn, and the shake. POCO, (Vr.) a little, rather, somewhat; as, poco presGRANDIOSO, (ft.) in a grand and elevated style. GRAN GUSTO, (ft.) in an elevated, grand style. to, rather quick poco piano, somewhat soft POCO A POCO, (ft.) by degrees, gradually ; as, poco GRAVAMENTE, (It.) dignified and solemn. a poco crescendo, louder and louder by degrees poco GRAVE, (R.) the slowest degree of movement also, a poco diminuendo, softer and softer by degrees. a deep, low pitch in the scale of sounds. GRAVITA, (ft.) gravity as, con gravita, with grav- POI, (IL then as, piano poi forte, soft, then loud.

GALOP,

(Qer.,)

will, pleasure; as, a piacere, at the performer's pleasure in regard to time. PIANISSIMO, or pp., (ft.) extremely soft.

TARDO, (It.) slowly, m a drugging manner TEMA, (ft.) a subject or theme. TEMPESTOSO, (ft.) in a tempestuous manner TEMPO COMODO, (ft.) in a convenient degree
movement.

last note of ont bar to the first note of the next, so as to form hot one note of a duration equal to both ; this displaces the accent, and produces a peculiar effect TACET, (Lat.) implies that, during a movement, o part of a movement, some particular instrument u to be silent ; aa,Jlauio tacit, the Mute is not to play TANTO, NON. (ft.) not so much ; not too much

SYNCOPATION, the

connecting the

dance, generally

TENDREMENT, (Fr.) affectionately, Umderly. TENERAMENTE, TENERO, or CON TENERE7ZA,


(ft.)

TENUTO,

must be sustained or kept down the

tenderly. or TEN.,

(ft.)

implies that a note or notrt full time

THEME, (Fr,) a subject TIMOROSO, (It) with timidity and awe. 'PRANaUILLO, TRANaUILLAMENTE, or <>> TRANaUILLEZZA, (ft.) tranquilly, composed)

TREMENDO,
horribly.
?

(ft.)

with a tremendous aipwtaln


(ft
)

ity.

POLACCA,

rotnpue,

an interrupted cadence.

CADENZA,

CALANDO,
quickness.

or close, at the termina(It.) a cadence, tion of a song or other movement, introducing some fanciful and extemporaneous embellishment. (IL) gradually diminishing in tone and

GRUPPETTO, (ft.) a group of notes a turn. GRUPPO, (ft.) a turn, or grace. GUSTO, GUSTOSO, or CON GUSTO, (ft.)
;

with

(IL,) POLONAISE, (Fr.,) (Fr.) a slow, Polish dance, in U-4 time, of a peculiar rhythmical construction, as the melodtal members usually terminate on the third crotchet of the
bar.
(ft.) in

POLONOISE, TREMANDO TREMOLATE, TREMOLO,

ira

IL,

taste, elegantly. (ft.) the.


(ft.)

TRILLANDO,
ent notes

plies the reiteration of a note or chord with v rapidity, so as to produce a tremulous kind .nf u. tion. of shakes on difle. (ft.) a succession

IMITAZIONE,

an imitation.

CALORE, (ft.) CANONE, (ft.)


instruments.

with much warmth and animation


a canon or catch
for several voices or

IMPETUOSO, (.ft.) with impe'uosity, impetuously. another. IMPROMPTU, (fV.) an extemporaneous production. IMPROVISARE, (ft.) to compose or sing exieiapora- POSSIBILE,
neously.
;

a grand and pompous manner. PORTAMENTO, (ft.) the manner of sustaining and conducting the voice a gliding from one note to

POMPOSO,

TIULLE, (Ft TRIO, (ft.) a

(ft.)

possible

as, piu forte possibile, as

loud as possible.

CANON, a species of uninterrupted imitation. IN, (IL) in as, in tempo, in time. CANTABILE, (It.) in a graceful and singing style. INNOCENTEMENTE, (IL) in an CANTANTE. (It.) a part to be executed by the voice. INNOCENTE, artless and simple style. CAPELLA, ALLA, (ft.) in the church style. INTERLUDE, an intermediate strain or movement. CAPO, (ft.) the head, or beginning. INTRADA, INTRODUZIONE, (ft.) a short introCATCH,
(ft.) a fanciful and irregular species of composition. a vocal piece in several parts, of a humorous character. movement or part CAVATlNAj (ft.) an air of onea recitative. only, occasionally preceded by JNANT, (Fr ) a song or melody the vocal part. CHE, (ft.) than as, poc piu che andante, rather slowtr than andante. uriROMATIC, proceeding by semitones, or formed by means of semitones. CODA, (ft.) a lew bars added at the close of a composition, beyond its natural termination. (It.) implies that the accompanist n'lst follow the principal part in regard to time. CON, (ft.) with ; as, con 2sprcssione, with expression ;

POTPOURRI",

(Fr.) a fantasia on favorite airs. PRECIPITATO, (ft.) in a hurried manner

CAPRICCIO,

ductory movement.

PRECISIONS, (IL) with precision, exactitude PRELUDIO, (it.) a prelude or introduction. PREMIERE, (Fr.) first as, premiere fois, first time. PRESTISSIMO, (ft.) the most rapid degree of move;

ISTESSO,
time.

(ft.)

the

same

as, i*e*rso tempo, the

same

ment.

LARGHETTO, (ft.) indicates a time slow and measured in its movement, but less o than Largo. LARGHISSIMO, (ft.) extremely slow.
LARGO,
(ft.)

PRESTO, (ft.) very quick. PRIMO, (ft.) first; as, violino primo,
po primo, in the
first

to a repetition of the first or principal movement a group of three notes, arising from th division ot v ;i note into three equa. parts of the neii inferior duration. FORZA, (IL) with the utmost vehemence, as loud as possible. TUTTI, (ft. plural, all ;) a terrr used to point out those passages where all the voices or instruntnta or both, are to be introduced.

a shako ,) TRILLO, (ft.) piece for three voices or instrument* This term also denotes a second movement to waltz, march, minuet, &c, which always leads hack

TRIPLET,

TUTTA

first

violin

tem-

UN,

or original time.
or style of; as, quasi
;

OUADRILLE,
QUASI,
gretto, like

(Fr.) a French dance.

a very slow and solemn degree of

(IL) in the

manner

alle-

movement.

an

HOLLA PARTE

with brilliancy and spirit. A selection (ft.) concord, agreement. is sometimes so called. CONCERTO, (ft.) a composition intended to display the powers of some particular instrument, with orson brio,

CON^ENTO,
of pieces

keys of the piano. dUIETO, (ft.) with calmness or repose quietly. LEGATO, (It.) in a smooth and connected manner. LEGATISSIMO, (ft.) exceedingly smooth and con- RADDOLCENDO, RADDOLCENTE, (IL) with aug- VIGOROSO, VIGOROPAMENTE, (fL) boldly, Tif orously. mented softness. nected. (Fr.) wUl. quickneaa. RALLENTANDO, (ft.) implies a gradual diminution VISTAMENTE, (ft.,) VITE, LEGEREMENT, (Fr.) with lightness and gayety. VIVACE, VIVAMENTE, or CON V1VACITA, (iit3 in the speed of the movement, and a corresponling LEGGIARDO, (ft.) light, gentle. animation. and with briskness of decrease the lone. in quantity LEGGIERAMENTE, (1l) lightly, gently VIVACISSLMO,(ft.) with extreme vivacity. LEGGIERO, or CON LEGGIEREZZA, (ft.) with RAPIDO, (ft.) rapidly. VIVACITA, (ft.) vivacity. REFRAIN, (Fr.) a burden or tig-end to a song. lightness and facility of execution. lively LEGGIERISSIMO, (IL) with the utmost lightness F.INFORZANDO, RINFO!iZATO, or rinf., or rf., VIVO, CON VIVEZZA, (ft.) animated,

allegretto.

VALCE, (ft.,) VALSE, (Fr.) a walte. VELOCE, or CON VELOCITA, (ft.) in rapid time VELOCISSIMO, (It > with extreme rapidity. VIBRANTE, (IL) a peculiar manner of touching th

(ft.)

as,

wn poco, a

little.

and

facility.

(It.)

with additional

LENTANDO, (ft.) with increasing slowness. LENTEMENTE, LENTO, (IL) in slow time.
LIAISON,
bind or
(Fr.) smoothness of connection; aiso, a
tie.

RITENENTE, RITFWUTO,
decreaae in

ROMANCE,

and emphasis. (IL) a keeping back, a movement. of the >eed (*>.,) ROMANZA, (ft) a short, lyric
t/;ne

ae

VOLANTE, (IL) in a light and rapid nnnnr. VOLTA, (ft.) time of playing a mo* ascot; r"
VOLTI SUBITO,
volta,

VOCE,

(ft.)

the voice.

the

first

*4etra' accompaniments.

tale, s.t to ..nisic

or a .-i:np!e

ami elegant melody

time of playing, &x. or V. S., (ft ) turn cvjr quiett*

DOLCEZZA. (/) with

sweetness

LOCO,

(Lot.)

This word implies that a passage

is

to

luitab'e to such

wonlt^gpPj

^^^tw WALZER,

*0f

TOT

(Qer.) 9 'valU-

?> i?SIV*RSITT

UN1YKR

'ITY

OF CALIFORNIA LIBRARY

-e-

-a :

LAST DATE THIS BOOK IS DUE ON THE

STAMPED BELOW

JAN

20

191

<24

'sib

SEP 111918
SEP

IS

1919

FEB 161920

SEP 8

aOro-1,'15

YF 00476
U.C.

BERKELEY UBRARIL:

C072777537

6ra
UNIVERSITY OF CALIFORNIA LIBRARY

VALUABLE MUSIS BOOKS U


TXZB
1

T.TwicrTnTi

OX
I

TIBCIS V5TORJBL.
Clarionet, File, Flageolet, <&.

Piano methods.
I3&1H9VH NnBTHOD. Til. l 8 METHOD.
BO.
Complete, S 50
;

Methods
to

for

ih*

Voice.
j

Abridged,

LABLACHE'8 METHOD.
DO. DO.

Complete, a 50

Abridged,

50

K.Tteed by Jouji In 3 Puis, each

Kicu,

3 00
9 I:

FOB BASS

RTE METHOD,

KVN.
Htnsi

Ctomptete, 2

'

i.

Abridge*",...

zvr

mkhoi,

1AKEH 7

U. MODERN INSTRUCTOR RAMILTO TS MODEHN INSTRUCTIONS, '"1Q 3 CELEBRATED INSTRUCTIONS,


.*ULLKr.*S INSTRUCTOR. S'S P IA.NO INSTRUCTION BOOK.
;

CAJVELLTS IBSTEUCTIONS FKBBABTS IN8TBUCTI0NS FOB VOICE, EXEBCIBES AND SOLFEGGIOS. By h. Mum,.., FA'JSBBON'S METHOD OF VOCALIZATION,--

VOICE,.... IN SINGING,-..

HOWE'S SCHOOL FOB CLABIONET, KENDALL'S CLARIONET INSTBUCTOB, KOWE'S PCHOOL FOE THE FIFE,..
DOFLAGEOLET, BANJO PRECEPTOR, 8EDGWICK'S CONCERTINA INSTRUCTOR, ROMBERG'S VIOLONCELLO.

*
>...

t*

m
00

DO. DO.

a oo
1

*
a 88
1

'V

I SO 1 00

.......

a 00

00

By C.

tNwrn loo 130 IO*T0H INSTRUCT0B. Complete, 3 00 Ahidfed, tOGtEE 8 FIBST COMPANION and SEQUEL, bcb, a 00 a 00 torrawi INSTRUCTIONS,

DO. JO. DO. DO. DO.

DO.

DO.

Abridged,

ABC

OF MUSIC,
BO.

3 SO
Smaller, for Clauses,. 1 00

THE VIOLONCELLO.

Abridged from

Eiinno,

08 SC

HAMILTON'S PEETEPTOB FOB VIOLONCELLO,..


DO. DO. BILEY'8 KYLE'S INSTBUCnpNB FOB BASSOON,

METHOD OF SINGING IN PARTS, GAMUT and SOLFEGGI. 9 Voice*, 63:


3 Voter*,
1

300
37

...alt
BO

00;

4 Vole,.
,

rH AMUSEMENT. By rnniuiS;..., ..'S HAND-BOOK, _..*.t:. WITiiOBT A MASTEB ID'S FIRST BOOK OF MUSIC, HU HITEHILE INSTRUCTIONS, FIBST STEPS OF YOUTH. By Dimui, KOWE'S ri'^O-FOBTE INSTRUCTOR,
'.

a so
60
50

COOKE'S SINGING INSTBUCTOB, BODOLPHE'S SOLFEC: T VOCALISTS COMPANION By E.B Ourn,


,

78

Harmony, thorough

Bass, &c.

400
.

CBESCENTTNI'S ART 0> j-iCGING, BOBDOGNI'S THIBTY-BLU. VOCALIZES, TWELVE NEW VOCALIZES, DO.
Sopran.
In 3 Nos.

300
2 00
-

SO
so

Each,

25

NOUBBirS 48 PBELiMXNARY
CONCONE'S 50 LESSONS.
10. DO.
In 2
?.
t

FXEBCLIEC.-...

38
38
38
1

Each,.

WOO

EXFT15

THE

VC>

LF-INSTRUCTOH,

OHAOxNER'S AST OF PLAYING, ADAM'S ELEMENTARY LESSONS, DIABEIXrS ELEMEKTABT LESSONS, SBAMEB'B INSTRUCTIVE LESSONS,

,jflALIi.2u

B No*.

Each

SO

38
50

8EMINAKY CLASS BOOK OF MUSIC, BIMfiAULrs HAND BOOK OF SINGING, BOSSI'n'S EXEKCTSES FOB THE VOICE

Fiai
'

rimers and Catechisms.


S3 50

Guitar and Harp Instructors.


CUBTISS'3 METHOD FOE THE GUIIAE, TORP'8 IYSTBUCTION BOOK DO CARCA_.v T 'S GUITAB. Complete, 2 50 ; Abridged,
.

408 WBBEB'3 MUSICAl, COMPOSITION. 2 Vol.., PESTALOSlTAN SYSTEM OF HM'NY. A.N Jokotok, 1 M W00DBUBV1 MUSICAL COMPOSITT05, -. SO CZERNYS 1. TROUGH BASS, ..-, 58 CORFE'S HARjilONY AND THOROUGH BASS,.-88 FIRST STEPS IN THOROUGH BASS, 38 BURRO WES' S THOROUGH BASS PBIMEE, * SCHNEIBEB'S I.IEOBY OF B ARMONY at BAKER'S THEORY OF HARMONY, **aB RIMBAULT'S HAND-BOOK "F HARMONY,-. S HA?aTON'S MUSICAL 11 xONARY, 88 FIVE THOUSAND MUSIC. L TERMS, WARNER'S DICTIONARY MUSICAL TXBMB,. 88 88 THE TUNER'S GUIDE

. '

Instrumental.
LOGIEB'S INSTRUCTIONS FOB BUGLE,
1

PlaNO PB1MEE. New Edition *UB~. OLIVER PRACTICAL TEXT-BOOK FORCES' CLASS BOOK Ai.D PBIMEE, TOUSSE'S CATECHISM OF MUSIC, KWORH'S METHOMCAL GUTBE,
Pinta
;-*<.ltcs

88 88

SO

BS

S3

50

CAR SLLVS GUITAR. Complete, 3 50 Abridged GUITAR WITHOUT A MASTEB, HOWE'S INSTRUCTOR, BOCHSA'S INSTRUCTOR FOR THE EABP,
;

2 00 50 38

FOB BAX HORN BURBITT'S PREOtx'iORB TOR BUGLE, SAX HOBS, POST HORN, CORNOPECX Each, BOSTON COLLECTION INSTRUMENTAL MUSIC,
DISTIN'S TUTOR

M
'

9 50

and Exercise.

Melodeon and Seraphine.


ZUNDELL'S MELODEON INSTRUCTOR
3 00
?

MUSICIAN'S COMPANION. 3 Vol*.,ach, INSTRUMENTAL MUSICIAN. 6 No*., each, 14 PIECES MU8IC FOR SMALL BRASS BAND,-.. 8 SELECT BRASS BAND MUSIC. 50 Piece*, rraaged lot
:

*!

M
80

I JCHOOL, 3 50 ;an voluntaries, 1 so SUCTIONS. Ei,C*ixott,Wamh 150

OARHAiiT'S

DO.

B.

OO

N VOLUNTARIES,
rn^i

3 00

ORGAN,

in Nob.

Each,
Each,,...

50

AMERICAN SCHOOL FOB THE I ELODEON, THE MELODEON WITHOUT A MASTEB, GREEN So WHITES INSTRUCTIONS, ....'HOWE'S MELODS'IN ;D C BRAPHINE

THE GERMANIA; A OoU. f

BMdofl2orl4Ine'Bt,byR A.Bo*DiTT,ouU*rd! PerBt, aiul Ban . 8 Inat*,

I 08
1

08

Secuinv
i

niitsic.

"MRLES.
;tui
SO.
r&

ByHu.;.

In No*.

50

W00DBURY3 SELF

ITI8TBU--T0B,
Muaic,

MOORE'S IRISH MELODIC. P'*i OPERAS 0? NORMA, LUCIA LI 7,AMM>-

N0 XX

'

1 50 ORGANIST, 150 VOLUNTARIES, ii-LoDES AND INTERLUDES,... 50 .ORT MELODIES. In No*. Each, 38

uOtmAMBULA, ,^ID
.Word*.
Each,

S J

Violin

miction l^ooii.i

Organ music.
jnEBTTJfTS STUDIES (Op. 84) Rudiment! du IX>. 85 t>^ "DIES
00.
Pianist*,..

3 00

Comp:-re,C OO; Abridged,..., SPOHR'S SCEf MA?i8'8 IN81 .'CTiONS MODEBN SCHC L. J>J rnirJoi, SAUNDERS' 81 F-LNSTBUCTING SCHOOL,THE VIOLIN C MPLETE,

00

100
1

VIOLTN WITH

IT

A MASTEB,

so
38
.18

tHOBQDUCTORY TO CRAMER,
f"0ALI;$

50 SO 75

DO.

AKD ZXEBC1SE8,
Edition,..

HOWE'S BCHO, FOB THE \'OI,IH, OLIN LNBTBUCTOB WOODBURY'S


VIOLIN

*ACH*i FUrTRlUT IirVENTIONS,

MABE

ASY.

33
38

CRAMEB'3 CELEBRATED STUDIES. New


CZKBNY'6
101

3 00
75
00

ETHIOPIAN VI

PBEPABAT0BY LESSONS. 3No.,ea., 1 t^EBNTS irNGEE EXERCISES. 3Nos. Each DO. GBAND EXERCISES OF THE SCALE,.. l *0. KTDDES DE LA VELOCITE. Bound
DO.
jiO.

.IN INSTBUCTOB, SELF-INSTRUCT E FOR THE VIOLIN OLE BULL VIO- J INSTRUCTOR,

159 UF BON GI'TVANNL J. E. Gocu>,.. 9 04 A HORUS BOOK. E. CkiWiiiT* 100 t'G FOLK'S GLEE BOOK, 61 COKTINENTAL GLEE BOOK, TYROLIEN LYRE. A Glee Book. Wkit* fc Gonz.s,.... 1 00 1 00 JENNY LIND GLEE BOOK. By Datid Pi*,... WREATH OF SCHOOL 30KG8. By Wniri tc Oom*,. If 19 MAY FESTIVAL. Dy J. O. Jo** 83 BAKER'S StB *0L SONG BOOK, 1 00 SONGS FOR THE PEOPLE. Hlustratwl * Each 100 BOSTON MELODEOJ* 75 THE NATIONAL GLEE ;i OK, SO CLASSIC GLEE BOOK, '"* Hong*. 1 <W BEAU^.TES OF CALEDONIA. *
.

<fc

38

75

so 75 30 SO

"lute

Ifooks.
3,
S so

LO.

DO.

3Noa,ea. r
Each,...

WRAGG'S FLUT

INSTRUC

THE iJHAK';. Arranged for Piano and Guitar, do. do. THE If FARP. THE Or.PHEAN LYRE. In 2 Vol*., ea. 50 in 1 Vol.,. THE GEMS OF SONG,
1
;

1 T

00

St

3 00
50

AMATEUR
a 50
38

X0O E*.8Y LESSONS

Four No*.

uO.

$W
DO.

TWENTY-FIVE EASY PBELUDES MX STUDIES FOB LEFT HAND,

81

CLASSICAL SCHOOL. Three No*. Each,.. 181 So -a) VEBNOTS KCOLE DU KECANISME. 3 No*. *., S3 DO FIBST LESSONS. Four No*. Each,.-

AStXB KXEBCIBES AND

SCALES, 18 SPECIAL STUDIES. 3 Km. Each, DO. EB'9 30 DRAMATIC STUDIES. 2 a

75

BERBIGUIER'S istruc:ions, BRESSLER'S COI 'LETE LNSTRUCTI0H8, BOSTON FLUTE 7STRUCT0R, HOWE'S SCHOOL 'OR THE FLUTE, ETHIOPIAN FLU1 INSTRUCTOR, WOODBURYS FLITE INSTBUCTOB, FLUTE WITHOUT A MASTEB,

38

38

1 PARLOR COMPANION. A Collectloa for the Piaaor * BOSTON TEMPERANCE GLEE BOOK, 38 THE TEMPERANCE MELODEON, ETHIOPIAN GLEE BOOK. 3 No*., ea. SB 3 In 1 VoL,.. 1 88 ETIttUETTE OF THE BALL ROOM,
;

SOL'G BOOii

.'

SB 38
38 38
"

Sacred Mustc.
ORATORIO OF CREATION, HOSES IN EGYPT. A ung by the Handel A. SACRED CHORUS BOOK. E. L Whit* 4:
o
1

75

.TUBES FOB TWO HANDS .138 AND EXEBJliES. 3Noi.


lY

2no
Ka.,

38

... FLUTE MABE EASY, -. SELF-INSTBUCTOB FOB THE FLUTE, JULLLEN COLLEC'N OF FLUTE &. VIOLIN MU" PORTFOLIO FOB FLUTE OB VIOLIN. ^ *
-

6
Ot

llaydaSoe'y, 1 J. E. GomLD. 9

JUVENILE STUDIES. I3No., 1 00 FLAtDTS TECHNICAL STUDIES, 9 00 SO ilANIS'i;* BEST COMPANION, 94 PRELUDES. By Sitrau Hiixi*. lu 9 No*. Each, 1 00 TIGBFRIK'S PBELUDES, 75 FOYILy DAILY EXEBCI8E, 93 KnarDTS FIVE-FIN6EB EXERCISES, SO MELODIOUB STUDIES. By Finuiiu, 1 00 :W MUSICAL ALPHABET, at
">

Accordeon Books.
NEW AND COMPLETE METHOD, CUNJAP^^L'S PBECEPTOB, ^CCORl/.or WITHOUT A MASTEB,
BTE. uPLAi ACCORDEOil INSTBUCTOB,
TBtK SELF-I^<.rjiUCTOB,
-

* 4
BJ

do BEETHOVEN'S MASS IN C, <1. HAYDN'S THIRD JiASS, IN D, HAYTEB'S SELECTION OF CHANTS, BIRD'S ONE HUNDRED CHANTS ZEUHER'S AMERICAN HARP,

do.

I
*

M
38
88
at

HABMCNIA SACRA. Short Chant*, Choro***. ** CHUB :H MELODIST. A CoHeetlon of P^^ei Tim**,.....
ANTIQUARIAN. A Coll'ia of oid-faahkmed Church THE MODERN HARP. Whit* * Soou THE POLYHYMNIA. C. P. B*r***, SABBATH blHOOL LUTE. Whim fc Cteoi.*,
Mute,
,

X
7j
!

HOWil'S COMPLETE PBECiSPTOB,


'

DO.

DO.

DO.

8**B,....

7.

-OARTAH EXERCISES,
i*
.

89
P. H.

^.NIC EXEKCTSES this

By

Blow**

PRECirTOB FOB GERMAN ACCOEDSOl, THE FLDTINA- A Client/' of Hnate,


Kail*

work can be forward*! hj

Catalo^nes of Shett Music forwarded on applisation to the PoWisbfT*